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Art MusingsBy Barbara Holt
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January 5,2023
Can you whittle? "Whittlin" was the way that many men in years past would pass time during the winters when farm chores slowed down. No special equipment was needed...just a pocketknife and a piece of wood. Sometimes a useful item, like a cooking spoon would be carved out of a stick, or it could be a toy for a child. In more modern times Hodge Black opened a shop in Mt. Ida where customers could come in and see him working on his wood carvings, surrounded by a pile of shavings.
Whittling is the oldest style of wood carving and began when early people discovered they could shape a piece of wood with a sharp stone. Centuries later when they discovered how to forge metal tools, whittling became more sophisticated. During long evenings around the fireplace country folks would carve items they needed for everyday life and decorate them with simple designs. In time, whittling pieces just for fun became a cultural tradition, and different regions developed their own distinctive styles.
Woodcarving is a simple art. You need only a few tools and basic techniques to get started; the rest comes with practice. But once you have these basics you're only limited by your imagination. You always have new horizons to explore. You can carve for a lifetime and never be bored.
A noted woodcarver, Dick Butz, described how he has benefitted from his craft. He says, "Sometimes when I'm really involved with a project, I almost feel like I'm in another time and place, a simpler world where the pace is set by the rhythm of the tools carving through the wood, rather than by clocks or calendars. I always come back refreshed, with a new perspective on life."
He added that woodcarving has given him a chance to meet a lot of new friends, especially through his teaching, and he welcomes the opportunity to share his enjoyment with others.
Many projects can be carved with a single sharp pocketknife. The first and most important thing you need to know is how to sharpen your tools. There's a big difference between the drudgery of trying to force your way through a piece of wood with a dull knife and the wonderful feeling of paring away clean shavings with sharp tools. You also need to develop a sensitivity to the nature of the wood itself, a process called, 'learning to work with the grain."
So, if you are looking for a new hobby for the new year, whittling may be the answer. To help you get started, come into the Ouachita Artists Gallery and Studio and see what our local woodworkers have created. Then look over the knife sharpening aids we have available. Wood carving is an easy craft to start. Try it, you might like it!
Can you whittle? "Whittlin" was the way that many men in years past would pass time during the winters when farm chores slowed down. No special equipment was needed...just a pocketknife and a piece of wood. Sometimes a useful item, like a cooking spoon would be carved out of a stick, or it could be a toy for a child. In more modern times Hodge Black opened a shop in Mt. Ida where customers could come in and see him working on his wood carvings, surrounded by a pile of shavings.
Whittling is the oldest style of wood carving and began when early people discovered they could shape a piece of wood with a sharp stone. Centuries later when they discovered how to forge metal tools, whittling became more sophisticated. During long evenings around the fireplace country folks would carve items they needed for everyday life and decorate them with simple designs. In time, whittling pieces just for fun became a cultural tradition, and different regions developed their own distinctive styles.
Woodcarving is a simple art. You need only a few tools and basic techniques to get started; the rest comes with practice. But once you have these basics you're only limited by your imagination. You always have new horizons to explore. You can carve for a lifetime and never be bored.
A noted woodcarver, Dick Butz, described how he has benefitted from his craft. He says, "Sometimes when I'm really involved with a project, I almost feel like I'm in another time and place, a simpler world where the pace is set by the rhythm of the tools carving through the wood, rather than by clocks or calendars. I always come back refreshed, with a new perspective on life."
He added that woodcarving has given him a chance to meet a lot of new friends, especially through his teaching, and he welcomes the opportunity to share his enjoyment with others.
Many projects can be carved with a single sharp pocketknife. The first and most important thing you need to know is how to sharpen your tools. There's a big difference between the drudgery of trying to force your way through a piece of wood with a dull knife and the wonderful feeling of paring away clean shavings with sharp tools. You also need to develop a sensitivity to the nature of the wood itself, a process called, 'learning to work with the grain."
So, if you are looking for a new hobby for the new year, whittling may be the answer. To help you get started, come into the Ouachita Artists Gallery and Studio and see what our local woodworkers have created. Then look over the knife sharpening aids we have available. Wood carving is an easy craft to start. Try it, you might like it!
December 29, 2023
Have you admired a piece of mosaic art? These tiny pieces of tile, glass, and other objects are bonded together to create these intricate works of art. To appreciate the work that goes into making a mosaic, check out the process used by artists Carl and Sandra Bryant as described in American Artist magazine.
Each of their mosaics begins with a thumbnail graphite sketch of the subject matter, followed by a more detailed pen-and-ink drawing on Kraft paper. Depending on the design, Sandra will sometimes also complete an acrylic painting on Kraft paper covered with gesso. She is looking at shading, composition, and color as she makes the painting.
Once the composition and color are established for the mosaic, the painting or drawing is placed on a board and used as a pattern guide for the mosaic. The artists utilize the reverse-indirect mosaic method to create their designs, and say it takes about five days to piece together a standard five-or-six square foot mosaic.
Then the pattern is covered with clear contact paper sticky side up, and the artists place the "tesserae," or individual glass pieces, on the pattern and move them around to create the desired design, like putting together a big puzzle. This technique provides maximum flexibility because the artists can change the position of the tiles multiple times until they reach a desired composition.
Once the mosaic is pieced together, the face of the mosaic is covered with tile tape, which is much stickier than the contact paper. Another board is placed on top of the tile tape and the sandwiched mosaic is flipped onto its front. The artists then peel off the contact paper from the back of the mosaic, grout the tiles from the back, and adhere the mosaic to its final base with a cement-based glass adhesive. After a one-week drying period, the artists peel off the tile tape from the front of the mosaic and fill in any small spaces between tiles with additional grout.
Mosaics have been around since ancient times, and many are still in wonderful condition. There are many ways to create mosaics; the Bryants have devised their own system. But whatever method is used, we must appreciate the work that goes into creating these unique pieces of art.
Have you admired a piece of mosaic art? These tiny pieces of tile, glass, and other objects are bonded together to create these intricate works of art. To appreciate the work that goes into making a mosaic, check out the process used by artists Carl and Sandra Bryant as described in American Artist magazine.
Each of their mosaics begins with a thumbnail graphite sketch of the subject matter, followed by a more detailed pen-and-ink drawing on Kraft paper. Depending on the design, Sandra will sometimes also complete an acrylic painting on Kraft paper covered with gesso. She is looking at shading, composition, and color as she makes the painting.
Once the composition and color are established for the mosaic, the painting or drawing is placed on a board and used as a pattern guide for the mosaic. The artists utilize the reverse-indirect mosaic method to create their designs, and say it takes about five days to piece together a standard five-or-six square foot mosaic.
Then the pattern is covered with clear contact paper sticky side up, and the artists place the "tesserae," or individual glass pieces, on the pattern and move them around to create the desired design, like putting together a big puzzle. This technique provides maximum flexibility because the artists can change the position of the tiles multiple times until they reach a desired composition.
Once the mosaic is pieced together, the face of the mosaic is covered with tile tape, which is much stickier than the contact paper. Another board is placed on top of the tile tape and the sandwiched mosaic is flipped onto its front. The artists then peel off the contact paper from the back of the mosaic, grout the tiles from the back, and adhere the mosaic to its final base with a cement-based glass adhesive. After a one-week drying period, the artists peel off the tile tape from the front of the mosaic and fill in any small spaces between tiles with additional grout.
Mosaics have been around since ancient times, and many are still in wonderful condition. There are many ways to create mosaics; the Bryants have devised their own system. But whatever method is used, we must appreciate the work that goes into creating these unique pieces of art.
December 22, 2022
Do you have trouble entering your creative zone? Each day when you begin creating your art you may be distracted by non-art activities...reading the newspaper, answering the phone, or watering your plants. Do what you must do before you enter your art space (or after you leave), and then try some of these exercises to help you get started. Gather a large sheet of paper from a sketch book and a soft pencil, charcoal, or black marker, then try the following to warm up.
First, close your eyes, relax and then swing your arm from your elbow and shoulder, making a continuous line from edge to edge and top to bottom of the paper. On a new page do the same thing with your other hand. Doing exercises with your non-dominant hand helps nudge you into your creative zone.
Or try gesture painting. Put a newsprint pad on the floor and use a 2 or 3-inch brush in tempera or watercolor. With a free-arm movement from the shoulder,
use your whole body to make calligraphic strokes across the page. Change hands and do it again. Use music to encourage rhythmic movements in your entire body.
Two-hand drawing may work for you. With a different colored marker in each hand, move both hands simultaneously as you draw something from life or your imagination. Move your eyes quickly as you draw to monitor your progress.
Next, be spontaneous with color and line. Paint freely with two or three colors using a large brush. Place colors on the paper with swaying, spontaneous strokes. Feel the joy of movement and the thrill of making paints move around on the paper. Painting without expectations will help you relax.
Splash and draw is a fifth exercise you may use. Splash and splatter fluid colors on slightly damp paper. Then use a black pen or marker to create a freehand design line or image over the color. Wait for the wet paint to dry, or apply the ink and let it spread on the damp wash
.
Finally, try the twist and shout. Use a big round brush and draw on a sheet of heavy paper, creating and distorting simple forms in sweeping patterns. Add whimsical patterns and lines. Sing! Play with your tools as if nothing is at stake!
Creative blocks are often related to mental anxiety, pressure to perform, inertia, and even boredom. Physical movement breaks through these barriers, freeing the mind and getting the brain working at a higher energy level. Whatever your art medium, style or skill level, you will benefit from preliminary exercises to get your creative system to and running.
And, who knows...you may produce a work of art that you really like!
Do you have trouble entering your creative zone? Each day when you begin creating your art you may be distracted by non-art activities...reading the newspaper, answering the phone, or watering your plants. Do what you must do before you enter your art space (or after you leave), and then try some of these exercises to help you get started. Gather a large sheet of paper from a sketch book and a soft pencil, charcoal, or black marker, then try the following to warm up.
First, close your eyes, relax and then swing your arm from your elbow and shoulder, making a continuous line from edge to edge and top to bottom of the paper. On a new page do the same thing with your other hand. Doing exercises with your non-dominant hand helps nudge you into your creative zone.
Or try gesture painting. Put a newsprint pad on the floor and use a 2 or 3-inch brush in tempera or watercolor. With a free-arm movement from the shoulder,
use your whole body to make calligraphic strokes across the page. Change hands and do it again. Use music to encourage rhythmic movements in your entire body.
Two-hand drawing may work for you. With a different colored marker in each hand, move both hands simultaneously as you draw something from life or your imagination. Move your eyes quickly as you draw to monitor your progress.
Next, be spontaneous with color and line. Paint freely with two or three colors using a large brush. Place colors on the paper with swaying, spontaneous strokes. Feel the joy of movement and the thrill of making paints move around on the paper. Painting without expectations will help you relax.
Splash and draw is a fifth exercise you may use. Splash and splatter fluid colors on slightly damp paper. Then use a black pen or marker to create a freehand design line or image over the color. Wait for the wet paint to dry, or apply the ink and let it spread on the damp wash
.
Finally, try the twist and shout. Use a big round brush and draw on a sheet of heavy paper, creating and distorting simple forms in sweeping patterns. Add whimsical patterns and lines. Sing! Play with your tools as if nothing is at stake!
Creative blocks are often related to mental anxiety, pressure to perform, inertia, and even boredom. Physical movement breaks through these barriers, freeing the mind and getting the brain working at a higher energy level. Whatever your art medium, style or skill level, you will benefit from preliminary exercises to get your creative system to and running.
And, who knows...you may produce a work of art that you really like!
December 15, 2022
Is art important for children? The answer is a definate "yes" according to author Barbara Herberholz in her book, Early Childhood Art. Art is a second language for all children, a visual language, and a vital part of all learning. Art can play an important role in helping children to advance more rapidly and easily in acquiring reading and computational skills. Scientists have pointed out the importance of supporting and fostering art education of all children in school. But parents and grandparents can do their part in helping children become involved in art, too.
Holidays are a time for gift giving. Even small children can learn the joy of giving by making their own gifts for people in their families or for friends. And while making gifts they can practice art skills and learn new ones. Here are some ideas for handmade presents that children can produce, maybe with a little help in providing supplies or managing the harder tasks.
Happy and colorful drawings, paintings, or cut-paper figures may be mounted and made into an enchanting and useful calendar. Start with a small, printed calendar from a shop and paste the child's original art over the pictures on the calendar. Or an older child may have the patience and skill to block in the days of each month and write in the dates. Each month can reflect the weather or an event that occurs then.
Bookmarks are another idea that a child can produce. They are useful and decorative and involve drawing or cutting and folding with felt or fabric. Children may snip out designs from assorted scraps of fabric and glue them to a stiff background, or they can be encouraged to create their own designs.
Simple sewing skills can produce a pincushion for a seamstress, or a beanbag for a friend. The young child can decorate the pin cushion or bag and get help from mom or granny in sewing up the sides.
Clay candle holders should be easy for even the youngest artist to make. A free form base works or make it into the shape of a star or animal and top it with a colorful candle.
If you know how to do macrame, you and your child could make some attractive key rings that any adult would enjoy.
We haven't even covered tree ornaments, jewelry, or home decorations. There are any number of ways that you and your child can practice your artistic talents together and provide a memorable holiday season for both of you.
Is art important for children? The answer is a definate "yes" according to author Barbara Herberholz in her book, Early Childhood Art. Art is a second language for all children, a visual language, and a vital part of all learning. Art can play an important role in helping children to advance more rapidly and easily in acquiring reading and computational skills. Scientists have pointed out the importance of supporting and fostering art education of all children in school. But parents and grandparents can do their part in helping children become involved in art, too.
Holidays are a time for gift giving. Even small children can learn the joy of giving by making their own gifts for people in their families or for friends. And while making gifts they can practice art skills and learn new ones. Here are some ideas for handmade presents that children can produce, maybe with a little help in providing supplies or managing the harder tasks.
Happy and colorful drawings, paintings, or cut-paper figures may be mounted and made into an enchanting and useful calendar. Start with a small, printed calendar from a shop and paste the child's original art over the pictures on the calendar. Or an older child may have the patience and skill to block in the days of each month and write in the dates. Each month can reflect the weather or an event that occurs then.
Bookmarks are another idea that a child can produce. They are useful and decorative and involve drawing or cutting and folding with felt or fabric. Children may snip out designs from assorted scraps of fabric and glue them to a stiff background, or they can be encouraged to create their own designs.
Simple sewing skills can produce a pincushion for a seamstress, or a beanbag for a friend. The young child can decorate the pin cushion or bag and get help from mom or granny in sewing up the sides.
Clay candle holders should be easy for even the youngest artist to make. A free form base works or make it into the shape of a star or animal and top it with a colorful candle.
If you know how to do macrame, you and your child could make some attractive key rings that any adult would enjoy.
We haven't even covered tree ornaments, jewelry, or home decorations. There are any number of ways that you and your child can practice your artistic talents together and provide a memorable holiday season for both of you.
December 8, 2022
What is the single most important factor in all painting? It is the effect of light and shade. These give reality and expression to paintings. They also help to establish structure, illuminate color and highlight textures. The addition of shadows and the variety of tones add interest and prevent a painting from looking flat.
For paintings to work visually the artist will need to draw and paint the features, capture the direction of the light, and highlight textures. Light makes the painting real and believable.
When painting landscapes, skies are an important aspect in creating atmosphere and mood. After all, they can represent almost two-thirds of a painting. Skies painted using diagonal brush strokes suggest a sense of movement. Soft, fluffy cumulus clouds suggest the peace and tranquility of a summer's day. Dark, nimbus clouds are synonymous with a feeling of awe. A colorful evening sky can create a feeling of contentment.
Artists of all generations have endeavored to capture the magical effects of light on the landscape. A source of light can be brightened by surrounding it with darker, contrasting tones of color.
The time of day will have an effect on the light in a landscape painting. In early morning light, shadows are ill-defined, the elements lack sharpness, and colors have a bluish appearance. When the sun is setting, every feature in the landscape...buildings, trees, etc...., will appear as silhouettes against the sky. Evening is a time for contemplation; the landscape is going to sleep. The clouds have darkened, contrasting with the light in the sky, making the light seem even brighter. If the painting includes water, the sky colors are reflected on its surface, creating a sense of peace and tranquility.
It is the artist's role to attempt to capture that special moment in time using light and shadows as tools at his or her disposal.
What is the single most important factor in all painting? It is the effect of light and shade. These give reality and expression to paintings. They also help to establish structure, illuminate color and highlight textures. The addition of shadows and the variety of tones add interest and prevent a painting from looking flat.
For paintings to work visually the artist will need to draw and paint the features, capture the direction of the light, and highlight textures. Light makes the painting real and believable.
When painting landscapes, skies are an important aspect in creating atmosphere and mood. After all, they can represent almost two-thirds of a painting. Skies painted using diagonal brush strokes suggest a sense of movement. Soft, fluffy cumulus clouds suggest the peace and tranquility of a summer's day. Dark, nimbus clouds are synonymous with a feeling of awe. A colorful evening sky can create a feeling of contentment.
Artists of all generations have endeavored to capture the magical effects of light on the landscape. A source of light can be brightened by surrounding it with darker, contrasting tones of color.
The time of day will have an effect on the light in a landscape painting. In early morning light, shadows are ill-defined, the elements lack sharpness, and colors have a bluish appearance. When the sun is setting, every feature in the landscape...buildings, trees, etc...., will appear as silhouettes against the sky. Evening is a time for contemplation; the landscape is going to sleep. The clouds have darkened, contrasting with the light in the sky, making the light seem even brighter. If the painting includes water, the sky colors are reflected on its surface, creating a sense of peace and tranquility.
It is the artist's role to attempt to capture that special moment in time using light and shadows as tools at his or her disposal.
December 1, 2022
Have you ever painted the same scene more than once? In his book,
Atmosphere, Mood and Light, artist Keith Fenwick argues that painting
the same scene at different times of the year can be a fascinating and
illuminating experience. It can benefit your development as a landscape
painter because it teaches you so much about color mixing and ways to
capture differences that can occur throughout the year.
First, find a spot that appeals to you, and one to which you can return
throughout the year. The bank of a creek or stream, an interesting spot
along a country road, or the view of mountains in the distance are all
possibilities. Even your own back yard may be the perfect place for you
to work. Just be sure you mark the exact spot where you view the scene
so you can find it the next time you come. Design your painting so that
the viewer's eye is taken beyond the foreground and into the distance.
A footpath or stream may serve this purpose. If you are a slow worker
you may want to take a camera to record what you see at the moment so
you can remember the details later.
Let's start with Spring. In Spring the new shoots are appearing,
There's a fresh glow in the distance, and wildflowers are in bloom.
The birds are singing, and everything seems clean and new. If you are
painting a woodland scene, it's important to paint a simple sky that
doesn't detract from the foreground detail. You will use a wide variety
of greens, from dark olive to yellow green.
When it's summertime the tree structures can barely be seen due to the
abundance of foliage. At ground level the grasses are in full growth
and surrounding bushes are waiting for the young birds to leave their
nests. The range of greens and sienna browns used to depict this
woodland scene creates splashes of color. The trees in full leaf cast
shadows across the path or stream, leading the eye into the distance.
Trees appear dark on the inside with light foliage sparkling on the
outside. Instead of using black for shadows, experiment with a mixture
of gray, green and a touch of red. To paint the grasses, start with
light green and stipple on darker greens.
In autumn the leaves have changed color and now display a wonderful
array of soft yellows to deep red browns. Nature's colors are at their
best at this time of year and offer the landscape painter an abundance
of majestic scenes to paint and opportunities to experiment with color
mixing. As the trees change from their summer to autumn colors, the
woodland displays a great variety of yellows, siennas, ochres, rich
red-browns and even deep purples. Only touches of green are now evident
unless you have dark green cedars and pines to contrast with the
brighter colors. The less experienced painter may find this wide array
of colors the most difficult to portray.
When winter arrives the leaves have fallen, except for a few determined
to keep their lofty positions. The distant woodland appears diffused,
yet the glory of what had been can still be seen in the occasional
splash of color. If the ground is covered in snow, young saplings and
stubble project upward. Such a scene demands a simple background sky.
A good guideline to remember is that a detailed foreground demands a
simple sky: a simple foreground requires an atmospheric sky. Tree
trunks and branch details are an important part of the winter scene so
details should be given special attention.
If you accept the challenge of painting one scene as it changes
throughout the year you should learn a lot about painting as well as the
natural world around you.ember 1, 2022
Have you ever painted the same scene more than once? In his book,
Atmosphere, Mood and Light, artist Keith Fenwick argues that painting
the same scene at different times of the year can be a fascinating and
illuminating experience. It can benefit your development as a landscape
painter because it teaches you so much about color mixing and ways to
capture differences that can occur throughout the year.
First, find a spot that appeals to you, and one to which you can return
throughout the year. The bank of a creek or stream, an interesting spot
along a country road, or the view of mountains in the distance are all
possibilities. Even your own back yard may be the perfect place for you
to work. Just be sure you mark the exact spot where you view the scene
so you can find it the next time you come. Design your painting so that
the viewer's eye is taken beyond the foreground and into the distance.
A footpath or stream may serve this purpose. If you are a slow worker
you may want to take a camera to record what you see at the moment so
you can remember the details later.
Let's start with Spring. In Spring the new shoots are appearing,
There's a fresh glow in the distance, and wildflowers are in bloom.
The birds are singing, and everything seems clean and new. If you are
painting a woodland scene, it's important to paint a simple sky that
doesn't detract from the foreground detail. You will use a wide variety
of greens, from dark olive to yellow green.
When it's summertime the tree structures can barely be seen due to the
abundance of foliage. At ground level the grasses are in full growth
and surrounding bushes are waiting for the young birds to leave their
nests. The range of greens and sienna browns used to depict this
woodland scene creates splashes of color. The trees in full leaf cast
shadows across the path or stream, leading the eye into the distance.
Trees appear dark on the inside with light foliage sparkling on the
outside. Instead of using black for shadows, experiment with a mixture
of gray, green and a touch of red. To paint the grasses, start with
light green and stipple on darker greens.
In autumn the leaves have changed color and now display a wonderful
array of soft yellows to deep red browns. Nature's colors are at their
best at this time of year and offer the landscape painter an abundance
of majestic scenes to paint and opportunities to experiment with color
mixing. As the trees change from their summer to autumn colors, the
woodland displays a great variety of yellows, siennas, ochres, rich
red-browns and even deep purples. Only touches of green are now evident
unless you have dark green cedars and pines to contrast with the
brighter colors. The less experienced painter may find this wide array
of colors the most difficult to portray.
When winter arrives the leaves have fallen, except for a few determined
to keep their lofty positions. The distant woodland appears diffused,
yet the glory of what had been can still be seen in the occasional
splash of color. If the ground is covered in snow, young saplings and
stubble project upward. Such a scene demands a simple background sky.
A good guideline to remember is that a detailed foreground demands a
simple sky: a simple foreground requires an atmospheric sky. Tree
trunks and branch details are an important part of the winter scene so
details should be given special attention.
If you accept the challenge of painting one scene as it changes
throughout the year you should learn a lot about painting as well as the
natural world around you.ember 1, 2022
November 24, 2022
What is a viewfinder? Photographers use the viewfinder and lens on
their cameras to determine the cropping of their subject, but artists
can use a viewfinder to make many crucial decisions. When painting
directly from nature or from photographs, a viewfinder can help an
artist decide which parts of the subject to include, adjust, or omit
from the painting, as well as help to accurately judge values and colors
for the composition.
The most simple form of viewfinder is to touch the the thumb and
forefinger of both hands to form a square or rectangle and hold this
about 8 inches in front of the face, then move the fingers until the
desired "frame" is formed. Or make a peephole by cupping the hand and
looking through the the opening formed when the thumb touches the
adjacent index finger. The artist can focus on a particular area of a
landscape, figure, or still life and determine how best to crop the
image. They can change the format from rectangular to square, decide
what elements to include, and adjust the size and shape of the parts
they intend to draw or paint. A viewfinder does more than narrow the
view of the subject, it helps to determine a subject's potential.
Another simple way to form a viewfinder is to cut two "L" shaped pieces
of cardboard, six or eight inches long on all four sides. The artist
simply forms the two pieces into a square, then slides the pieces back
and forth until the desired view is captured. A viewfinder can show how
to come up with a better distribution of shapes and colors to get the
optimum distribution of shapes and colors, and create a composition that
leads to a better picture.
Artists have been using lenses, mirrors, and perspective aids since the
1400s. One of the oldest manufactured viewfinders was invented in 1927
and was very similar to those manufactured today. Each type of
viewfinder has advantages and disadvantages, depending on how the artist
works and whether or not they are good at keeping track of all your tools.
If the artist works en plein air, or outside in nature, where there is a
vast amount of information to choose from, and multiple ways to depict a
scene, a viewfinder can help to select just those pieces of
information...buildings, trees, lakes, clouds, roads, people...that are
to be included. For a figure painter, the viewfinder can help determine
how to place the model inside a vertical or horizontal composition. And
for the artist who paints still life they can evaluate the arrangement
of shapes, colors, and textures as objects are moved into and out of the
setup. No need to struggle with issues that could be resolved quickly
and effectively by taking the time to evaluate the subject through a
viewfinder.
What is a viewfinder? Photographers use the viewfinder and lens on
their cameras to determine the cropping of their subject, but artists
can use a viewfinder to make many crucial decisions. When painting
directly from nature or from photographs, a viewfinder can help an
artist decide which parts of the subject to include, adjust, or omit
from the painting, as well as help to accurately judge values and colors
for the composition.
The most simple form of viewfinder is to touch the the thumb and
forefinger of both hands to form a square or rectangle and hold this
about 8 inches in front of the face, then move the fingers until the
desired "frame" is formed. Or make a peephole by cupping the hand and
looking through the the opening formed when the thumb touches the
adjacent index finger. The artist can focus on a particular area of a
landscape, figure, or still life and determine how best to crop the
image. They can change the format from rectangular to square, decide
what elements to include, and adjust the size and shape of the parts
they intend to draw or paint. A viewfinder does more than narrow the
view of the subject, it helps to determine a subject's potential.
Another simple way to form a viewfinder is to cut two "L" shaped pieces
of cardboard, six or eight inches long on all four sides. The artist
simply forms the two pieces into a square, then slides the pieces back
and forth until the desired view is captured. A viewfinder can show how
to come up with a better distribution of shapes and colors to get the
optimum distribution of shapes and colors, and create a composition that
leads to a better picture.
Artists have been using lenses, mirrors, and perspective aids since the
1400s. One of the oldest manufactured viewfinders was invented in 1927
and was very similar to those manufactured today. Each type of
viewfinder has advantages and disadvantages, depending on how the artist
works and whether or not they are good at keeping track of all your tools.
If the artist works en plein air, or outside in nature, where there is a
vast amount of information to choose from, and multiple ways to depict a
scene, a viewfinder can help to select just those pieces of
information...buildings, trees, lakes, clouds, roads, people...that are
to be included. For a figure painter, the viewfinder can help determine
how to place the model inside a vertical or horizontal composition. And
for the artist who paints still life they can evaluate the arrangement
of shapes, colors, and textures as objects are moved into and out of the
setup. No need to struggle with issues that could be resolved quickly
and effectively by taking the time to evaluate the subject through a
viewfinder.
November 17, 2022
What do you do when you can't get inspired to work on your art? The
short answers is to start and the art will follow. There are plenty of
excuses for not getting started on your art project. But you can't wait
for inspiration, you need to take some steps to motivate you to get to
work. These hints may help non-artists, too, to get going on some
project they would like to start.
First, keep your supplies together. Don't waste time assembling and
searching for your art materials. Next, go for immediate
gratification. Start work on something that gives quick results so
you'll be eager to continue. Do the easy part first to get yourself
involved in the process.
Find someone to share your art with. There's nothing like an
understanding friend to keep you motivated. Take a class, like those
offered by Ouachita Artists, or get on-line to find a group with similar
interests. Fill your head. Read, browse through art books and magazine
and visit art openings and museums. Load your head with inspiration so
that when you have the time to create, you will have the desire and the
ideas. At Ouachita Artists Gallery and Studio there is a collection of
books and magazines available to anyone who wants to come in and read
them, and members may check them out to take home.
Don't listen to people who don't understand or appreciate why you would
rather work on your art than go shopping or out to a movie. Avoid people
that put you down or make you feel inadequate. Have confidence in your
work. Take advantage of the time you must spend on other
tasks...driving, cooking, doing laundry...to dream up new ideas. Then
dive in! Stop planning and waiting until you know all the answers.
That is just procrastination. Trust your intuition. Creating is an
innate ability, something we are all born with. Trust your own vision
and work from your heart.
Don't judge and don't give up. Somewhere along the way you may think
your work is no good, but this is the time to persevere. Even the most
accomplished, full-time artists feel that way, but they work through it
because they know the feeling is common and temporary. There are times
when losing your creative momentum is not because you are stuck, but you
are entering a valuable phase of the creative process referred to as an
"incubation period." During this time your mind unconsciously processes
new ideas and feelings that will eventually drive your project forward.
Don't wait for inspiration...just do it!
What do you do when you can't get inspired to work on your art? The
short answers is to start and the art will follow. There are plenty of
excuses for not getting started on your art project. But you can't wait
for inspiration, you need to take some steps to motivate you to get to
work. These hints may help non-artists, too, to get going on some
project they would like to start.
First, keep your supplies together. Don't waste time assembling and
searching for your art materials. Next, go for immediate
gratification. Start work on something that gives quick results so
you'll be eager to continue. Do the easy part first to get yourself
involved in the process.
Find someone to share your art with. There's nothing like an
understanding friend to keep you motivated. Take a class, like those
offered by Ouachita Artists, or get on-line to find a group with similar
interests. Fill your head. Read, browse through art books and magazine
and visit art openings and museums. Load your head with inspiration so
that when you have the time to create, you will have the desire and the
ideas. At Ouachita Artists Gallery and Studio there is a collection of
books and magazines available to anyone who wants to come in and read
them, and members may check them out to take home.
Don't listen to people who don't understand or appreciate why you would
rather work on your art than go shopping or out to a movie. Avoid people
that put you down or make you feel inadequate. Have confidence in your
work. Take advantage of the time you must spend on other
tasks...driving, cooking, doing laundry...to dream up new ideas. Then
dive in! Stop planning and waiting until you know all the answers.
That is just procrastination. Trust your intuition. Creating is an
innate ability, something we are all born with. Trust your own vision
and work from your heart.
Don't judge and don't give up. Somewhere along the way you may think
your work is no good, but this is the time to persevere. Even the most
accomplished, full-time artists feel that way, but they work through it
because they know the feeling is common and temporary. There are times
when losing your creative momentum is not because you are stuck, but you
are entering a valuable phase of the creative process referred to as an
"incubation period." During this time your mind unconsciously processes
new ideas and feelings that will eventually drive your project forward.
Don't wait for inspiration...just do it!
November 10, 2022
Do you have an art buddy? Some artists have found that working with
another artist on a regular basis can make a big difference in their
artwork. Ideally your art partner will have strengths that you don't.
Leaning on one another can help both of you grow. By working together
you can bounce ideas between one another and become more creative.
Setting goals, establishing priorities, and being accountable for them
are an important part of the relationship. You can set your own goals
or set goals for joint projects. By communicating these goals to
another person you are more likely to work toward them and complete
these tasks.
Making time in your schedule for art can be tough, especially if you
work another job or have an active family life. By making an
appointment to work with your art partner you are more likely to set
aside time to be with them since you have made the commitment and you
are less likely to break it with them that you might with yourself.
Feedback is important in the quality of your work. You and and your
partner can look at each other's work and suggest what is needed to
improve it. It is much easier to see someone else's work with a fresh
eye than it is you own. Submitting your work to critique is critical to
growth as an artist. Don't be afraid that you will lose the ability to
work on your own. You will accomplish more by encouraging one another.
You may influence each other through suggestions, but you don't
collaborate with your work. Another vital part of a partnership is
affirmation. You can tell one another when an art project is coming
along well.
Exchange of ideas is another benefit of working with someone else.
Exposure to another person's working methods, materials, experiences and
opinions helps you try new things. This artistic exchange also includes
a certain sense of challenge. Working closely with another artist you
admire can raise the bar on the quality of your own work. You can let
their work challenge you to do better.
Companionship is another benefit of working with someone else. Art can
be a lonely business; an art partner can keep you going through the
difficult times, both in your art and your personal life. Choosing your
art buddy with similar goals is important. You can both be hobbyists or
professionals, but having different goals may lead you in different
directions.
It is not important that your partner work in the same media as you do.
But it may work better if you do not have a vastly different skill
level. Mentoring is a wonderful thing, but if studio time develops into
instruction time you won't move forward in your own work. It's alright
to have different working styles as long as one does not distract the
other.
Your creative partner can be a friend, acquaintance or complete
stranger. What is most important is that you are both committed to
setting aside time to work, and that the relationship is beneficial for
both of you.
Do you have an art buddy? Some artists have found that working with
another artist on a regular basis can make a big difference in their
artwork. Ideally your art partner will have strengths that you don't.
Leaning on one another can help both of you grow. By working together
you can bounce ideas between one another and become more creative.
Setting goals, establishing priorities, and being accountable for them
are an important part of the relationship. You can set your own goals
or set goals for joint projects. By communicating these goals to
another person you are more likely to work toward them and complete
these tasks.
Making time in your schedule for art can be tough, especially if you
work another job or have an active family life. By making an
appointment to work with your art partner you are more likely to set
aside time to be with them since you have made the commitment and you
are less likely to break it with them that you might with yourself.
Feedback is important in the quality of your work. You and and your
partner can look at each other's work and suggest what is needed to
improve it. It is much easier to see someone else's work with a fresh
eye than it is you own. Submitting your work to critique is critical to
growth as an artist. Don't be afraid that you will lose the ability to
work on your own. You will accomplish more by encouraging one another.
You may influence each other through suggestions, but you don't
collaborate with your work. Another vital part of a partnership is
affirmation. You can tell one another when an art project is coming
along well.
Exchange of ideas is another benefit of working with someone else.
Exposure to another person's working methods, materials, experiences and
opinions helps you try new things. This artistic exchange also includes
a certain sense of challenge. Working closely with another artist you
admire can raise the bar on the quality of your own work. You can let
their work challenge you to do better.
Companionship is another benefit of working with someone else. Art can
be a lonely business; an art partner can keep you going through the
difficult times, both in your art and your personal life. Choosing your
art buddy with similar goals is important. You can both be hobbyists or
professionals, but having different goals may lead you in different
directions.
It is not important that your partner work in the same media as you do.
But it may work better if you do not have a vastly different skill
level. Mentoring is a wonderful thing, but if studio time develops into
instruction time you won't move forward in your own work. It's alright
to have different working styles as long as one does not distract the
other.
Your creative partner can be a friend, acquaintance or complete
stranger. What is most important is that you are both committed to
setting aside time to work, and that the relationship is beneficial for
both of you.
November 3, 2022
Should you copyright your artwork? Copyright is a form of intellectual
property law that protects original works of literature, drama, music
and art, including paintings, novels, movies, computer software and
architecture. Copyright won't protect facts, ideas, systems or methods
of operation, although it may protect how these things are expressed.
Your artwork is under copyright protection the moment it's created and
fixed in a tangible form so that it is perceptible directly or with the
aid of a machine or device. For example, as soon as you draw or paint a
picture on paper or canvas, your artwork receives copyright protection.
There are some benefits if you register your artwork with the U.S.
Copyright Office, according to Kaufman and Pierce in The Artists
Magazine (18:4). It allows you to have the facts of your copyright on
the public record. It allows you, the owner, to recover damages from
someone who copies your art. You can learn details about the
application process and more information about filing copyright
application forms and fees by calling the Copyright Office at
202-707-3000, or viewing its Web site at www.loc.gov/copyright.
Copyright law applies to the Internet just it applies to other mediums.
Those who download, display, save, scan, send transmit or upload your
artwork to or through the Internet need your permission, just as they
would to sell reproductions from your originals. For example,
displaying your work online if you haven't given permission is copying.
Scanning artwork to upload to a Web site is copying. E-mailing digital
images of artwork to a friend is copying, and saving artwork seen online
to a hard drive or a disk is copying. When a piece of art is a
commission the other party is considered to be the author, rather than
the person who created the work. A copyright on your work lasts for
your lifetime plus an additional 70 years. In case of joint ownership,
the term lasts for 70 years after the last surviving author's death.
The use of a copyright notice on your artwork is optional, but
recommended because it informs the world of your right to the artwork.
It can be a circle enclosing a C, the word "Copyright," or the
abbreviation "Copr." each followed by the date and the author's name.
Use of the notice is your responsibility and does not require permission
or registration with the U. S. Copyright Office.
So it's up to you to go through the process of copyrighting your art
work. If someone infringes on your copyright you may find an
experienced copyright attorney, and seek protection by filing a civil
lawsuit in federal district, hoping to recover penalties, plus fees and
court costs. On the other hand you might want to be more careful about
how you use the work of another artist without permission, no matter how
much you admire it!
Should you copyright your artwork? Copyright is a form of intellectual
property law that protects original works of literature, drama, music
and art, including paintings, novels, movies, computer software and
architecture. Copyright won't protect facts, ideas, systems or methods
of operation, although it may protect how these things are expressed.
Your artwork is under copyright protection the moment it's created and
fixed in a tangible form so that it is perceptible directly or with the
aid of a machine or device. For example, as soon as you draw or paint a
picture on paper or canvas, your artwork receives copyright protection.
There are some benefits if you register your artwork with the U.S.
Copyright Office, according to Kaufman and Pierce in The Artists
Magazine (18:4). It allows you to have the facts of your copyright on
the public record. It allows you, the owner, to recover damages from
someone who copies your art. You can learn details about the
application process and more information about filing copyright
application forms and fees by calling the Copyright Office at
202-707-3000, or viewing its Web site at www.loc.gov/copyright.
Copyright law applies to the Internet just it applies to other mediums.
Those who download, display, save, scan, send transmit or upload your
artwork to or through the Internet need your permission, just as they
would to sell reproductions from your originals. For example,
displaying your work online if you haven't given permission is copying.
Scanning artwork to upload to a Web site is copying. E-mailing digital
images of artwork to a friend is copying, and saving artwork seen online
to a hard drive or a disk is copying. When a piece of art is a
commission the other party is considered to be the author, rather than
the person who created the work. A copyright on your work lasts for
your lifetime plus an additional 70 years. In case of joint ownership,
the term lasts for 70 years after the last surviving author's death.
The use of a copyright notice on your artwork is optional, but
recommended because it informs the world of your right to the artwork.
It can be a circle enclosing a C, the word "Copyright," or the
abbreviation "Copr." each followed by the date and the author's name.
Use of the notice is your responsibility and does not require permission
or registration with the U. S. Copyright Office.
So it's up to you to go through the process of copyrighting your art
work. If someone infringes on your copyright you may find an
experienced copyright attorney, and seek protection by filing a civil
lawsuit in federal district, hoping to recover penalties, plus fees and
court costs. On the other hand you might want to be more careful about
how you use the work of another artist without permission, no matter how
much you admire it!
October 27, 2022
How do you know a good painting when you see one? Even the most
> articulate artists have a hard time defining how a painting should be
> composed. There may be certain elements that everyone agrees on, like
> "dominance" and "harmony." There may be some rules that artists are
> supposed to follow if they want their work to have impact, but even
> artists who subscribe to them admit that they can and maybe should be
> broken. And styles change just as artists do. What looked fresh and
> bold a few decades ago may now look tired.
>
> To some artists nothing is more important than design. The moment
> they put some object in the painting, all other parts relate to it.
> The main object has visual strength because the artist organizes the
> rest of the painting around it. The artist contrives visual strength
> by using greater contrasts there, especially in value, and by using
> less contrasts in other parts of the painting.
>
> How does an artist make the focal point in a painting? A focal point,
> in either a representational or abstract painting, is the focus of the
> viewer's eye. To do this, the artist attracts the viewer's eye by
> making the focal point the area of greatest contrast. It shouldn't be
> too close to any edge. Ideally, the optical center of interest should
> be a different measure from each of the four corners. To further
> establish the center of interest, object lines, movement thrusts, or a
> series of arrow shapes that carry the eye from any edge of the
> painting toward the focal point can be used.
>
> One artist advised that the secret to a strong, dynamic composition
> was simple: simplicity. His formula was to start with three big,
> simple shapes. The first two simple shapes (related in color and
> shape and interlocked together) will constitute 75% of the painting.
> The third shape (different in shape and color) will comprise the other
> 25% of the painting. The third shape is a complement to the other two
> related shapes and thus becomes the center of interest.
>
> Classical artists composed formally balanced paintings. If the parts
> of a composition are represented as weights balanced on a seesaw, with
> the fulcrum standing for the vertical axis, the two parts of the
> painting will be of equal "weight" on each side. In other words, the
> elements of the painting are arranged so that there is no
> disproportion: there is equal weight on each side, as on a scale.
>
> As you can see, artists have different ideas about how to compose a
> painting. The answer to the question of what is a "good painting"
> then, must be that the "good" painting will be the one that you like.
> The most important criterion is, in your opinion, the one that appeals
> to you! .
How do you know a good painting when you see one? Even the most
> articulate artists have a hard time defining how a painting should be
> composed. There may be certain elements that everyone agrees on, like
> "dominance" and "harmony." There may be some rules that artists are
> supposed to follow if they want their work to have impact, but even
> artists who subscribe to them admit that they can and maybe should be
> broken. And styles change just as artists do. What looked fresh and
> bold a few decades ago may now look tired.
>
> To some artists nothing is more important than design. The moment
> they put some object in the painting, all other parts relate to it.
> The main object has visual strength because the artist organizes the
> rest of the painting around it. The artist contrives visual strength
> by using greater contrasts there, especially in value, and by using
> less contrasts in other parts of the painting.
>
> How does an artist make the focal point in a painting? A focal point,
> in either a representational or abstract painting, is the focus of the
> viewer's eye. To do this, the artist attracts the viewer's eye by
> making the focal point the area of greatest contrast. It shouldn't be
> too close to any edge. Ideally, the optical center of interest should
> be a different measure from each of the four corners. To further
> establish the center of interest, object lines, movement thrusts, or a
> series of arrow shapes that carry the eye from any edge of the
> painting toward the focal point can be used.
>
> One artist advised that the secret to a strong, dynamic composition
> was simple: simplicity. His formula was to start with three big,
> simple shapes. The first two simple shapes (related in color and
> shape and interlocked together) will constitute 75% of the painting.
> The third shape (different in shape and color) will comprise the other
> 25% of the painting. The third shape is a complement to the other two
> related shapes and thus becomes the center of interest.
>
> Classical artists composed formally balanced paintings. If the parts
> of a composition are represented as weights balanced on a seesaw, with
> the fulcrum standing for the vertical axis, the two parts of the
> painting will be of equal "weight" on each side. In other words, the
> elements of the painting are arranged so that there is no
> disproportion: there is equal weight on each side, as on a scale.
>
> As you can see, artists have different ideas about how to compose a
> painting. The answer to the question of what is a "good painting"
> then, must be that the "good" painting will be the one that you like.
> The most important criterion is, in your opinion, the one that appeals
> to you! .
October 20, 2022
Do you have a problem finding time to do your art, craft, or hobby?
Time, or the lack of it, is a central concern for many artists. As you
take on new responsibilities as a young adult the pace of life seems to
quicken, and time seems to be compressed. Later in life, many artists
find that they continue to have competing interests to their compulsion
to create. Art plays a central role in their lives and thoughts, but
finding time to do it is scarce. Consider these strategies for carving
out painting or crafting time.
If you put your art first it may mean saying "no" to something else.
It's really the discipline of protecting your time and being strong
about it, letting nothing else steal it from you. It may mean squeezing
in time for your art among your other activities, and maintaining your
dedication.
Encouragement of any type is important because it helps you gain the
psychological high ground needed to believe you deserve your "art
time." As people around you begin to recognize your efforts you try
harder to do a good job. Encourage yourself, too. Look at the good
parts of your work, and pat yourself on the back. look at what you've
done earlier and congratulate yourself on your improvement.
You may need to work with other people and get their feedback and
suggestions on how to improve your efforts. You may find a "buddy" you
can share time with, or there may be a group of people who are working
on similar projects. Join the group and expand your techniques as well
as your social life.
Another secret for creating more time for your art lies in finding a
time that works for you, then forcing yourself to work a little bit,
regardless of whether or not you feel like it. Life intervenes if you
give it a chance, and can steal the little time you have set aside for
your art.
You will be more likely to work on your art if you set aside a
designated work area. It's important to have your own work space where
you can spread out the supplies you need, and leave them when you have
to stop. You will save time when you don't have to pull out your tools,
or put them in storage when you must stop your work.
A final suggestion is to work to music. Turn on your favorite tune to
help clear your head of distractions so you can concentrate on your
work. Painting, drawing, or crafting should be enjoyable for you, and
not stressful. Even if your time is short, there are things you can do
to be a more productive artist. The bottom line is that if you
cultivate your love of art, it will find a time for itself.
Do you have a problem finding time to do your art, craft, or hobby?
Time, or the lack of it, is a central concern for many artists. As you
take on new responsibilities as a young adult the pace of life seems to
quicken, and time seems to be compressed. Later in life, many artists
find that they continue to have competing interests to their compulsion
to create. Art plays a central role in their lives and thoughts, but
finding time to do it is scarce. Consider these strategies for carving
out painting or crafting time.
If you put your art first it may mean saying "no" to something else.
It's really the discipline of protecting your time and being strong
about it, letting nothing else steal it from you. It may mean squeezing
in time for your art among your other activities, and maintaining your
dedication.
Encouragement of any type is important because it helps you gain the
psychological high ground needed to believe you deserve your "art
time." As people around you begin to recognize your efforts you try
harder to do a good job. Encourage yourself, too. Look at the good
parts of your work, and pat yourself on the back. look at what you've
done earlier and congratulate yourself on your improvement.
You may need to work with other people and get their feedback and
suggestions on how to improve your efforts. You may find a "buddy" you
can share time with, or there may be a group of people who are working
on similar projects. Join the group and expand your techniques as well
as your social life.
Another secret for creating more time for your art lies in finding a
time that works for you, then forcing yourself to work a little bit,
regardless of whether or not you feel like it. Life intervenes if you
give it a chance, and can steal the little time you have set aside for
your art.
You will be more likely to work on your art if you set aside a
designated work area. It's important to have your own work space where
you can spread out the supplies you need, and leave them when you have
to stop. You will save time when you don't have to pull out your tools,
or put them in storage when you must stop your work.
A final suggestion is to work to music. Turn on your favorite tune to
help clear your head of distractions so you can concentrate on your
work. Painting, drawing, or crafting should be enjoyable for you, and
not stressful. Even if your time is short, there are things you can do
to be a more productive artist. The bottom line is that if you
cultivate your love of art, it will find a time for itself.
October 13, 2022
What is ''artistic license''? It is the freedom that artists have to
change reality to compose the picture that they want to paint. Artists
have used photographs for studio paintings since soon after the camera
was invented in the 1800's. Taking photos has become a fast and
convenient way to collect and record material, but photograph reference
may be only a starting point for making a painting, not something to
copy faithfully.
Nature offers wonderful subjects and vistas to paint, but from an
artistic standpoint, various elements like trees, rocks and streams are
not always in the best location for a compelling design. And the
photograph reference may not be under ideal lighting conditions, time of
day or even the best time of year. The artist can change any and all of
these things without hesitation, so he or she should take the time to
analyze what elements could or should be moved, changed, retained or
possibly eliminated in order to create the best composition and most
engaging art possible.
Jim Markle, a landscape artist from Michigan, offers a few tips on how
to accomplish this. First, he suggests, is to clear out the
underbrush. Weeds that grow along a fence, small saplings that surround
a great tree, or brush that obscures the view may be eliminated in the
painting without harm and may improve it. Clear out the walking path to
make it more prominent. Too many leaves on a tree? Don't paint them all.
A second suggestions is to make the scene more pastoral. To make a more
interesting painting of a barn in a field, abandon the somber gray
colors of the sky in the photograph and change it for the more dramatic
palette of the evening sunlight peeking through the clouds and
reflecting strongly on the barn roof. Eliminate the other buildings
competing with the barn and add a small pond in the foreground where the
reflection of the sunlight could add more drama. Changing the asphalt
highway in the foreground to a winding lane dirt road with puddles of
water could add more interest and movement to the overall painting.
A third idea is to zoom in on a favorite spot. For example, a
photograph of a river and bridge on a bright sunny day may be a very
complicated composition with several minor points of interest and no
place for the eye to focus. The artist may be drawn to a clump of
cedars behind a large lock at the river's edge. By moving in closer to
that particular spot and removing some smaller rocks, the scene was
simplified, and that then became the focus of the painting. A later,
second painting, based on the same photograph, focused on the bridge and
river below.
Finally, Markle says, find better supporting elements. He photographed
a long stand of trees because he liked the way they were backlit,
creating interesting silhouettes. He did a series of small
compositional sketches, and decided to eliminate the road and place the
trees on a hill overlooking a large lake and shoreline, creating an
inviting place for the viewer to pause and enjoy the scene. He
scattered wildflowers in the grass to add more color to the foreground.
So, in summary, if you have taken a photograph, or a series of them, and
none is exactly the painting you would like to make, feel free to use
your artistic license to change the parts around, or combine elements of
several photos to get the painting you want to make.
What is ''artistic license''? It is the freedom that artists have to
change reality to compose the picture that they want to paint. Artists
have used photographs for studio paintings since soon after the camera
was invented in the 1800's. Taking photos has become a fast and
convenient way to collect and record material, but photograph reference
may be only a starting point for making a painting, not something to
copy faithfully.
Nature offers wonderful subjects and vistas to paint, but from an
artistic standpoint, various elements like trees, rocks and streams are
not always in the best location for a compelling design. And the
photograph reference may not be under ideal lighting conditions, time of
day or even the best time of year. The artist can change any and all of
these things without hesitation, so he or she should take the time to
analyze what elements could or should be moved, changed, retained or
possibly eliminated in order to create the best composition and most
engaging art possible.
Jim Markle, a landscape artist from Michigan, offers a few tips on how
to accomplish this. First, he suggests, is to clear out the
underbrush. Weeds that grow along a fence, small saplings that surround
a great tree, or brush that obscures the view may be eliminated in the
painting without harm and may improve it. Clear out the walking path to
make it more prominent. Too many leaves on a tree? Don't paint them all.
A second suggestions is to make the scene more pastoral. To make a more
interesting painting of a barn in a field, abandon the somber gray
colors of the sky in the photograph and change it for the more dramatic
palette of the evening sunlight peeking through the clouds and
reflecting strongly on the barn roof. Eliminate the other buildings
competing with the barn and add a small pond in the foreground where the
reflection of the sunlight could add more drama. Changing the asphalt
highway in the foreground to a winding lane dirt road with puddles of
water could add more interest and movement to the overall painting.
A third idea is to zoom in on a favorite spot. For example, a
photograph of a river and bridge on a bright sunny day may be a very
complicated composition with several minor points of interest and no
place for the eye to focus. The artist may be drawn to a clump of
cedars behind a large lock at the river's edge. By moving in closer to
that particular spot and removing some smaller rocks, the scene was
simplified, and that then became the focus of the painting. A later,
second painting, based on the same photograph, focused on the bridge and
river below.
Finally, Markle says, find better supporting elements. He photographed
a long stand of trees because he liked the way they were backlit,
creating interesting silhouettes. He did a series of small
compositional sketches, and decided to eliminate the road and place the
trees on a hill overlooking a large lake and shoreline, creating an
inviting place for the viewer to pause and enjoy the scene. He
scattered wildflowers in the grass to add more color to the foreground.
So, in summary, if you have taken a photograph, or a series of them, and
none is exactly the painting you would like to make, feel free to use
your artistic license to change the parts around, or combine elements of
several photos to get the painting you want to make.
October 6, 2022
Are you a serious artist, crafts person or have a major hobby? Where do
you do your work? By now you may have accumulated a large collection of
materials, references, and tools that you use to reach your goal. You
may have wished you had a studio where you could work. Studios come in
many shapes and sizes, but they all play similar roles in the creative
process. They are a personal refuge, a place to think, meditate, let
your imagination run unfettered, take risks, find solutions, build on
your strengths, struggle with your weaknesses, wrestle with your doubts,
and ultimately grow as an artist. But in order to be all of things,
your studio must meet your basic needs. Here are some ideas to carve
out space for a studio in your home.
First, clean out the garage. There may be space being occupied by items
that you don't need anymore. Donate these and use the garage for your
studio. Having enough light is a major consideration in converting the
garage into a studio. lf you work during the day and have a good window
your artificial lighting needs may be minimal. A florescent fixture
above the window and some track lighting suspended from a beam may
provide what you need. Flooring is another aspect to consider. Some
people like to use indoor-outdoor carpeting to cover the floor, but a
hardwood floor may be easier to clean. If you stand on your feet for
long periods, consider a floor that has some spring, such as some of
laminate brands. You want the space to be comfortable and easy to
maintain, as well as free from distractions.
A second idea is to clean out the kids' room. If your children are
grown and out of the home it maybe time to transform a bedroom or
recreational room into a space that you can use now for yourself. As
with the garage conversion, lighting is particularly critical, especial
if you work with color. Consult a lighting specialist about choosing
full spectrum lighting. If the walls were covered in dark colors to be
child-proof, they may need to be lightened up with paint or wallpaper.
Storage is important but need not be expensive. Bookshelves and storage
bins may serve the purpose. A large work table is important for almost
all projects. Check out local thrift stores, secondhand shops, or
auctions to see what you can find.
Third, get out of the kitchen! That space already serves multiple uses
for the family, and has more items stored there than anywhere in the
house. If you work on the kitchen table you will be putting out and
putting up your supplies whenever you need to serve or eat a meal.
Finally, if you can, you may be able to expand into the outdoors. An
enclosed porch may not be serving a useful purpose, but with a little
help may become the space you are looking for. If construction is
involved, make a careful plan and check it out with someone who knows
your craft. They may have some good suggestions for improvement. If
you are serious about your work you really need to have a good space in
which to do it.
Sept 29, 2022
Would you like to sharpen your sketching skills? Ten tips were given by
Butch Krieger in The Artists Magazine (vol. 25, no. 4) to give the
artist who does field sketches some ways to improve their work. First,
he writes, keep it small and simple. Don't try to draw too much of an
object or subject at a time. Doing small sketches also simplifies the
process; the smaller an image is, the less detail you need to draw.
Second, use forgiving media. Forget ink and felt markers, as well as
pastels and charcoal for now. They are messy and too blunt for small
detail work. He recommends sharper drawing implements such as graphite
and ebony pencils.
Third, draw in black and white. Color complicates the sketching process
and slows it down, plus it increases the number of decisions you must
make especially when doing shading. You also waste time as you
repeatedly change the pencils in your hand, so draw strictly in
blank-and-white or monochrome for now.
Don't let details bog you down is the the fourth tip. Drawing too many
details clutters the picture and can waste precious time.
Fifth, don't worry about mistakes. No matter how good you get, you will
make mistakes. If you use a spiral-bound sketchbook you can keep your
successes and throw away the catastrophes away before anyone sees them!
Draw with a light touch instead of a heavy hand. If you know that an
error will be easy to erase or ignore, you won't be afraid to draw.
Later you can bolster some of the lines that are the most important.
Selective boldness emphasizes the important parts of the drawing and
creates a sense of depth.
The seventh tip is to estimate your sketching time, to give you an idea
of the degree to which you can develop the sketch. Not much time
available? Make a rough sketch and add details later.
Eighth, draw contour lines first, and add the shading later. You can
even add shading later when you may have more time.
Ninth, use "darts." Darting is accenting places where a line going in
one direction intersects, but does not traverse, another line crossing
its path. Sometimes you can use a dart at the end of a line rather than
darkening the line's entire length. Using darts can save you time
because can finishing darkening the whole line later.
And last, practice makes perfect. Just start sketching and keep doing
it. If at any time you don't feel like drawing much, draw anyhow. And
it's a relatively simple, inexpensive endeavor. All you need is a
sketchbook, a pencil, an eraser and a spirit of adventure!
Would you like to sharpen your sketching skills? Ten tips were given by
Butch Krieger in The Artists Magazine (vol. 25, no. 4) to give the
artist who does field sketches some ways to improve their work. First,
he writes, keep it small and simple. Don't try to draw too much of an
object or subject at a time. Doing small sketches also simplifies the
process; the smaller an image is, the less detail you need to draw.
Second, use forgiving media. Forget ink and felt markers, as well as
pastels and charcoal for now. They are messy and too blunt for small
detail work. He recommends sharper drawing implements such as graphite
and ebony pencils.
Third, draw in black and white. Color complicates the sketching process
and slows it down, plus it increases the number of decisions you must
make especially when doing shading. You also waste time as you
repeatedly change the pencils in your hand, so draw strictly in
blank-and-white or monochrome for now.
Don't let details bog you down is the the fourth tip. Drawing too many
details clutters the picture and can waste precious time.
Fifth, don't worry about mistakes. No matter how good you get, you will
make mistakes. If you use a spiral-bound sketchbook you can keep your
successes and throw away the catastrophes away before anyone sees them!
Draw with a light touch instead of a heavy hand. If you know that an
error will be easy to erase or ignore, you won't be afraid to draw.
Later you can bolster some of the lines that are the most important.
Selective boldness emphasizes the important parts of the drawing and
creates a sense of depth.
The seventh tip is to estimate your sketching time, to give you an idea
of the degree to which you can develop the sketch. Not much time
available? Make a rough sketch and add details later.
Eighth, draw contour lines first, and add the shading later. You can
even add shading later when you may have more time.
Ninth, use "darts." Darting is accenting places where a line going in
one direction intersects, but does not traverse, another line crossing
its path. Sometimes you can use a dart at the end of a line rather than
darkening the line's entire length. Using darts can save you time
because can finishing darkening the whole line later.
And last, practice makes perfect. Just start sketching and keep doing
it. If at any time you don't feel like drawing much, draw anyhow. And
it's a relatively simple, inexpensive endeavor. All you need is a
sketchbook, a pencil, an eraser and a spirit of adventure!
Sept 22, 2022
What do you know about color? Take this quiz. 1. What are the three primary colors? 2. What are the three secondary colors and how are they made? 3. What are three complementary color schemes?
If you named red, blue and yellow as the three primary colors you did well. The three secondary colors are made by mixing two primary colors. Mix red and yellow and you get orange. Red and blue give you purple, and a mixture of yellow and blue yields green. There are six tertiary colors, too, when you mix a primary and a secondary color. They are red orange, yellow orange, red violet, blue violet, blue green and yellow green. Keep on mixing these colors and you can get an endless variety.
A color wheel is a circle with a triangle superimposed on it. Each angle of the triangle contains one of the primary colors. Directly across from each primary color is the secondary color made by combining the other two primary colors. Did you follow that? The primary color and its opposite secondary color comprise a complementary color scheme. For example, red and green, yellow and purple, blue and orange are all complementary color schemes.
When Sir Isaac Newton (1642-1727) put a prism in a dark box and shone light through a tiny hole, he discovered that within white light was a spectrum of color. Because seeing color is a process that takes place at the back of the eye, we all see and interpret color slightly differently. Color seems simple, until we start to think or have to talk about it. We all know that trees are green, and the lake is blue, but look closer. How many shades of green do you see in those leaves? How does the lake change color with the time of day or the weather? The challenge to an artist is to see the myriad of colors and shades in the subject matter of the painting, then mix the colors to capture what is seen. As you go about your day today, become more aware of all the colors that surround you and enjoy the display!
What do you know about color? Take this quiz. 1. What are the three primary colors? 2. What are the three secondary colors and how are they made? 3. What are three complementary color schemes?
If you named red, blue and yellow as the three primary colors you did well. The three secondary colors are made by mixing two primary colors. Mix red and yellow and you get orange. Red and blue give you purple, and a mixture of yellow and blue yields green. There are six tertiary colors, too, when you mix a primary and a secondary color. They are red orange, yellow orange, red violet, blue violet, blue green and yellow green. Keep on mixing these colors and you can get an endless variety.
A color wheel is a circle with a triangle superimposed on it. Each angle of the triangle contains one of the primary colors. Directly across from each primary color is the secondary color made by combining the other two primary colors. Did you follow that? The primary color and its opposite secondary color comprise a complementary color scheme. For example, red and green, yellow and purple, blue and orange are all complementary color schemes.
When Sir Isaac Newton (1642-1727) put a prism in a dark box and shone light through a tiny hole, he discovered that within white light was a spectrum of color. Because seeing color is a process that takes place at the back of the eye, we all see and interpret color slightly differently. Color seems simple, until we start to think or have to talk about it. We all know that trees are green, and the lake is blue, but look closer. How many shades of green do you see in those leaves? How does the lake change color with the time of day or the weather? The challenge to an artist is to see the myriad of colors and shades in the subject matter of the painting, then mix the colors to capture what is seen. As you go about your day today, become more aware of all the colors that surround you and enjoy the display!
Sept 15, 2022
Are cartoons art? Cartoons can charm. They can make you laugh. They
can tell thrilling tales. And often, they do all three at the same
time. What comes to mind when you think of cartooning? Comic strips and
movie characters are only a few of the venues open to cartoonists.
Cartoons also adorn and populate greeting cards, children's books, and
advertisements. Many of us grew up reading comic books, and now enjoy
political cartoons as satire.
Cartooning is an art, not a science; you can make up your own rules.
Cartoons can be cute, cuddly, wacky, weird, thrilling, or chilling
depending on who's steering the pen. In general, cartoons fit into
three basic categories. The first of these are the "Cute" cartoons. A
lot of comic strips, children's books and greeting cards are populated
by precocious big-eyed moppets and their lovable furry friends. These
characters are endlessly produced as collectible figurines and ornaments
as well. There's nothing like a little kid or a puppy to bring out warm
and fuzzy feelings in even the grumpiest viewer. Kids identify and
adults chuckle at the mischievous antics of cartoon small fry, which
makes them popular styles for picture books and cards.
A second category of cartoon could be called the "Zany" cartoons. The
wild characters and slapstick humor of zany cartoons are a warped
reflection of our world. The situations the characters find themselves
in are often familiar to us, and their ridiculous responses are wildly
exaggerated versions of our own. The hero may be a caveman, a robot, a
talking pig or a well-known political figure but you can be sure he'll
be put through the wringer before the curtain comes down on the cartoon
or comic strip action.
"Realistic" cartoons can be found in comic books with tales of heroism
and derring-do. For these bold adventures, a more realistic style of
drawing is called for. Cartoon realism isn't exactly realistic.
Everything is stylized and stripped of extraneous details for maximum
impact. Realistic cartoons are more true to life. They display a
knowledge of anatomy and perspective presented in a stylized version
where everything may be simplified. This particular art style is often
employed in advertisements and editorial cartoons as well. Super heroes
and space explorers may exist in locations devised by the artist.
If you like to draw but don't want to tackle a "masterpiece" right now,
try your hand at designing a cartoon character. Start with doodles on
paper, or if you are computer savvy, seek out help from that source.
Remember that there are no rules in cartooning, so let your imagination
soar.
Are cartoons art? Cartoons can charm. They can make you laugh. They
can tell thrilling tales. And often, they do all three at the same
time. What comes to mind when you think of cartooning? Comic strips and
movie characters are only a few of the venues open to cartoonists.
Cartoons also adorn and populate greeting cards, children's books, and
advertisements. Many of us grew up reading comic books, and now enjoy
political cartoons as satire.
Cartooning is an art, not a science; you can make up your own rules.
Cartoons can be cute, cuddly, wacky, weird, thrilling, or chilling
depending on who's steering the pen. In general, cartoons fit into
three basic categories. The first of these are the "Cute" cartoons. A
lot of comic strips, children's books and greeting cards are populated
by precocious big-eyed moppets and their lovable furry friends. These
characters are endlessly produced as collectible figurines and ornaments
as well. There's nothing like a little kid or a puppy to bring out warm
and fuzzy feelings in even the grumpiest viewer. Kids identify and
adults chuckle at the mischievous antics of cartoon small fry, which
makes them popular styles for picture books and cards.
A second category of cartoon could be called the "Zany" cartoons. The
wild characters and slapstick humor of zany cartoons are a warped
reflection of our world. The situations the characters find themselves
in are often familiar to us, and their ridiculous responses are wildly
exaggerated versions of our own. The hero may be a caveman, a robot, a
talking pig or a well-known political figure but you can be sure he'll
be put through the wringer before the curtain comes down on the cartoon
or comic strip action.
"Realistic" cartoons can be found in comic books with tales of heroism
and derring-do. For these bold adventures, a more realistic style of
drawing is called for. Cartoon realism isn't exactly realistic.
Everything is stylized and stripped of extraneous details for maximum
impact. Realistic cartoons are more true to life. They display a
knowledge of anatomy and perspective presented in a stylized version
where everything may be simplified. This particular art style is often
employed in advertisements and editorial cartoons as well. Super heroes
and space explorers may exist in locations devised by the artist.
If you like to draw but don't want to tackle a "masterpiece" right now,
try your hand at designing a cartoon character. Start with doodles on
paper, or if you are computer savvy, seek out help from that source.
Remember that there are no rules in cartooning, so let your imagination
soar.
September 8, 2022
What are pastel paintings? The word "pastel" connotes a particular
image--soft, gentle, romantic, sentimental. Years ago, this was true but
pastels today can be bold and aggressive, dynamic, and passionate.
Practically any effect that can be achieved in another medium can be
achieved with pastel. Pastels were first used as a painting medium in
the 18th century, mainly for portraits, and were a viable art form by 1780.
Pastels are sometimes confused with chalk, but they are not made to be
used on a blackboard. They are made of pure, powdered color pigment
bound together with resin or gum, and molded into the sticks that
artists use. They come in a wide variety of colors and values. They
are simply stroked onto the painting surface. The process is quick and
immediate. There is no waiting for the paint to set, and there is no
change of color as the paint dries. It is a simple medium, but one that
lends itself to great sophistication.
Pastels can be used on a variety of surfaces. If you use paper, choose
one specially made for pastels. This will have some "tooth" or texture
that will capture the particles of color instead of letting them slide
off as they would on a slicker paper. Some people like to work on
velour because they like the soft, subtle quality. Sandpaper is the
surface of choice for some. It will hold a good amount of pigment, but
use a paper stump for blending colors instead of your finger!
Because of the vast range of ways to use pastel, it is a medium equally
suited for the beginner or the accomplished artist. Some artists choose
pastels because they feel the pastel stick is an extension of their
fingers and they don't need a brush between them and their painting. No
medium, water or other liquid, is required, and pastels are durable.
They do not deteriorate, and if framed with a mat, under glass, will
last indefinitely. There are museums throughout the world that are
exhibiting pastels that are hundreds of years old and do not show any
sign of losing their brilliance.
Each artist develops a personal "handwriting" with pastel. Some paint
with bold individual strokes, letting the lines or dots of separate
color vibrate against each other. Some paint with layers of lighter
strokes that merge into new colors on the surface of the painting.
Still others put down strokes of pastel and then blend them with fingers
or cloth to create a smooth surface of uninterrupted color. The artist
can achieve thin precise lines and details by using pastel pencils or
sharpened sticks of pastel. Turning the pastel stick on its side
produces wide strokes for covering a large area quickly. Pastels also
can be used like watercolor or thinned oil, built up gradually in layers
of glazes.
The broad scope of pastels induces experimentation. And pastel is very
forgiving. Made a mistake? Lift off the dry pastel with an eraser, or
brush it off with a cloth. If you haven't tried painting with pastel
maybe it's time you gave it a try...after all, you can always fix your
mistakes!
What are pastel paintings? The word "pastel" connotes a particular
image--soft, gentle, romantic, sentimental. Years ago, this was true but
pastels today can be bold and aggressive, dynamic, and passionate.
Practically any effect that can be achieved in another medium can be
achieved with pastel. Pastels were first used as a painting medium in
the 18th century, mainly for portraits, and were a viable art form by 1780.
Pastels are sometimes confused with chalk, but they are not made to be
used on a blackboard. They are made of pure, powdered color pigment
bound together with resin or gum, and molded into the sticks that
artists use. They come in a wide variety of colors and values. They
are simply stroked onto the painting surface. The process is quick and
immediate. There is no waiting for the paint to set, and there is no
change of color as the paint dries. It is a simple medium, but one that
lends itself to great sophistication.
Pastels can be used on a variety of surfaces. If you use paper, choose
one specially made for pastels. This will have some "tooth" or texture
that will capture the particles of color instead of letting them slide
off as they would on a slicker paper. Some people like to work on
velour because they like the soft, subtle quality. Sandpaper is the
surface of choice for some. It will hold a good amount of pigment, but
use a paper stump for blending colors instead of your finger!
Because of the vast range of ways to use pastel, it is a medium equally
suited for the beginner or the accomplished artist. Some artists choose
pastels because they feel the pastel stick is an extension of their
fingers and they don't need a brush between them and their painting. No
medium, water or other liquid, is required, and pastels are durable.
They do not deteriorate, and if framed with a mat, under glass, will
last indefinitely. There are museums throughout the world that are
exhibiting pastels that are hundreds of years old and do not show any
sign of losing their brilliance.
Each artist develops a personal "handwriting" with pastel. Some paint
with bold individual strokes, letting the lines or dots of separate
color vibrate against each other. Some paint with layers of lighter
strokes that merge into new colors on the surface of the painting.
Still others put down strokes of pastel and then blend them with fingers
or cloth to create a smooth surface of uninterrupted color. The artist
can achieve thin precise lines and details by using pastel pencils or
sharpened sticks of pastel. Turning the pastel stick on its side
produces wide strokes for covering a large area quickly. Pastels also
can be used like watercolor or thinned oil, built up gradually in layers
of glazes.
The broad scope of pastels induces experimentation. And pastel is very
forgiving. Made a mistake? Lift off the dry pastel with an eraser, or
brush it off with a cloth. If you haven't tried painting with pastel
maybe it's time you gave it a try...after all, you can always fix your
mistakes!
September 1, 2022
Have you ever considered how the arts and cultural opportunities effect
a community? A vibrant arts community can revitalize a city, boost
revenues, and create jobs, a fact that that has some states initiating
artist-attracting programs and incentives. If you consider the United
States as a whole, Arkansas is developing a strong reputation as being a
place where artists have tended to congregate. Think of Hot Springs,
Little Rock, the Bentonville/Fayeetteville area and Pine Bluff where
programs supporting the arts are well in place.
Recognizing that artist groups can spur the economic development of
depressed urban centers, modern economists and city planer are
increasingly looking at ways to provide incentives for fine and
performing arts, composers and writers to provide "creative clusters."
In some cities living spaces are set aside for artists to colonize. A
lively cultural environment brings into town not only people who are
already arts enthusiasts others who visit because they are intrigued by
the city's unique arts environment.
Artists help to broaden the appeal of a living area, giving individuals
and families somewhere to go and something to do. By joining a locally
produced play a child or an adult can have the fun of working with a
cast to learn lines or may be featured for their special skill such as
singing or playing an instrument." Or the production may need certain
types of costumes, or props for the stage that you could supply. There
are many "behind the scenes opportunities to be part of the production
without being in front of the audience.
Your local art gallery features an ever changing exhibit of locally
produced art, as well as many opportunities for you to develop your own
skills. The summer youth art program gives younger people a chance to
develop their talents in art and crafts while school is out. And now
two Saturdays a month they can continue working on their skills. Check
out the schedule posted at the gallery in Mt. Ida to see what's
happening. Adults have classes and demonstrations going on during the
Fall, Winter and Spring.
A unique event in Mt. Ida are the Front Porch concerts featuring local
talent. Bring your lawn chair or blanket to the Court House lawn on
Saturday evening and listen to the music. And don't forget the popcorn
available at the back porch. The Front Porch Concerts soon will be over
for this year, so plan to go soon.
The Heritage House Museum is a good place to learn how the Ouachita
Mountains were formed, how people around here lived 100 years ago, where
crystals come from, and what crafts and skills were practiced back
then. Check out the equipment in the barn, and the furnishings in the
old house to get an idea of life a century ago. Maybe you have an old
family member you would like to know about. If you have questions the
docents who work there can be very helpful in looking for the answers.
The Old Norman School House has become a museum, too. Restoration took
several years, but now you can go back in time to see how school
children learned. As you drive around the county you might be drawn in
to hear a Friday night "hootenanny" at the Blue Bell Cafe if you're
passing through Story on a Friday night, or find the Jot 'em Down Store
in Oden if you are following the Arkansas Quilt Trail. The Gap
Mercantile in Caddo Gap is an experience in itself, and if you're lucky
you may be there to hear a McCarter family concert. These are just some
of the art and culture related places and events found in our county.
Take a little time off from your busy schedule and "get a little local
art and culture."
August 25, 2022
Have you ever tried painting a portrait of a child? Or maybe you were making
a photograph. In either case, the goal is to capture an accurate
likeness of the child on their best day. All off this rarely happens
just by chance. Most artists who paint portraits of children work from
photographs because it is hard to have them pose for long periods of
time. It is best to sketch or take photos of children in their own
homes with a parent close at hand, since they may be shy or nervous in
an unfamiliar environment. Take several photos, assuming that the first
few will unusable warm-up shots because children may take stiff,
uncharacteristic poses at first. As they become more comfortable and
relaxed, the poses become more appealing.
Outdoor sunlight provides the best lighting for children. The ideal
light is one that is behind and just above the shoulder of the subject,
a low morning or afternoon light (between 10 a.m. or after 2 p.m.)
hitting the back of the child's head and spilling down one side. A
parent or older child may need to hold a reflector that catches the
light and bounces it back on the child's face to eliminate any harsh
shadows, bring out the child's features, and highlight the eyes.
After taking several photos review them, choosing those with the best
potential. Narrow them down to the very best photo. If you are taking
photos of several children you may find that not everyone is at their
best, so you may develop a composite image using the best parts of
several shots. Working with computer software makes this possible, or
the artist may make changes in the composition of the painting.
Remember that the most important part of a portrait is the face and the
degree to which it captures the appearance and personality of the
subject. Objects in the background may include pets, toys or other
objects that are important to the child and reflect their interests.
The final test of a successful portrait of a child is the satisfaction
of the parents. It is important to have an initial discussion with them
about their expectations, concerns, or desires, and try to recognize
these as the portrait is in progress. Making portraits of children may
be challenging, but the final product can be very satisfactory.
Have you ever tried painting a portrait of a child? Or maybe you were making
a photograph. In either case, the goal is to capture an accurate
likeness of the child on their best day. All off this rarely happens
just by chance. Most artists who paint portraits of children work from
photographs because it is hard to have them pose for long periods of
time. It is best to sketch or take photos of children in their own
homes with a parent close at hand, since they may be shy or nervous in
an unfamiliar environment. Take several photos, assuming that the first
few will unusable warm-up shots because children may take stiff,
uncharacteristic poses at first. As they become more comfortable and
relaxed, the poses become more appealing.
Outdoor sunlight provides the best lighting for children. The ideal
light is one that is behind and just above the shoulder of the subject,
a low morning or afternoon light (between 10 a.m. or after 2 p.m.)
hitting the back of the child's head and spilling down one side. A
parent or older child may need to hold a reflector that catches the
light and bounces it back on the child's face to eliminate any harsh
shadows, bring out the child's features, and highlight the eyes.
After taking several photos review them, choosing those with the best
potential. Narrow them down to the very best photo. If you are taking
photos of several children you may find that not everyone is at their
best, so you may develop a composite image using the best parts of
several shots. Working with computer software makes this possible, or
the artist may make changes in the composition of the painting.
Remember that the most important part of a portrait is the face and the
degree to which it captures the appearance and personality of the
subject. Objects in the background may include pets, toys or other
objects that are important to the child and reflect their interests.
The final test of a successful portrait of a child is the satisfaction
of the parents. It is important to have an initial discussion with them
about their expectations, concerns, or desires, and try to recognize
these as the portrait is in progress. Making portraits of children may
be challenging, but the final product can be very satisfactory.
July 21, 2022
Can computers and traditional art make good partners? If you look
around you, chances are that most of what you see was made by a
machine. We live in an automated culture with things produced with
efficiency and uniformity. Except art. Tens of thousands of years
since the first cave paintings were made, art is still a decidedly human
endeavor, with the artist's hand and heart dictating a final creation
that is uniquely personal. So it's no surprise that artists, in
general, have been reticent to embrace the capabilities of the
computer. Yet an increasing number of traditional artists are finding
interesting ways for the computer to aid their art, even when their art
itself is still created by hand. Here are some examples of how digital
technology is playing a role in non-digital art.
One artist, before he does anything on paper, takes hundreds of digital
photographs and then manipulates and finalizes the compositions on
paper. He likes to think of the camera and laptop as his sketchbook,
carrying his camera with him everywhere he goes. He sorts through all
the images on his computer, and when he finds a shot with merit, he
saves it for further development. Then he runs the image through a
series of croppings, while also experimenting with color, lighting,
value and contrast. He frequently also cuts and pastes elements from
several shots together. He keeps working until he has a total
composition that is satisfactory and makes him excited. Once the piece
has been worked out on computer, he prints the image on paper, which
becomes his reference for his painting.
Another artist takes a digital photo of the painting he's working on,
downloads the image onto his computer. He experiments with seeing what
the painting would look like if he modified or eliminated some area. He
might explore more complicated issues as well. For example he may want
to see what a landscape would look like if he placed a house or barn in
it, or if he the size, placement, shape and perspective within the
painting. Some software may be able to help solve a problem of choice
of colors, or imbalance in colors. By using the computer, the colors
can be made to shift from warm to cool, overall or only in parts.
Digital methods can play a big role in traditional art, but be cautioned
that it is neither inexpensive nor easy. You must purchase the software
and hardware required, plus there's the investment of time that is
required to learn the programs and how to apply them to your art. Each
painting has unique problems and solutions, and the many step-by-step
process required to get from point A to point B can overwhelm anyone.
But any artist, with the desire, can learn.
Can computers and traditional art make good partners? If you look
around you, chances are that most of what you see was made by a
machine. We live in an automated culture with things produced with
efficiency and uniformity. Except art. Tens of thousands of years
since the first cave paintings were made, art is still a decidedly human
endeavor, with the artist's hand and heart dictating a final creation
that is uniquely personal. So it's no surprise that artists, in
general, have been reticent to embrace the capabilities of the
computer. Yet an increasing number of traditional artists are finding
interesting ways for the computer to aid their art, even when their art
itself is still created by hand. Here are some examples of how digital
technology is playing a role in non-digital art.
One artist, before he does anything on paper, takes hundreds of digital
photographs and then manipulates and finalizes the compositions on
paper. He likes to think of the camera and laptop as his sketchbook,
carrying his camera with him everywhere he goes. He sorts through all
the images on his computer, and when he finds a shot with merit, he
saves it for further development. Then he runs the image through a
series of croppings, while also experimenting with color, lighting,
value and contrast. He frequently also cuts and pastes elements from
several shots together. He keeps working until he has a total
composition that is satisfactory and makes him excited. Once the piece
has been worked out on computer, he prints the image on paper, which
becomes his reference for his painting.
Another artist takes a digital photo of the painting he's working on,
downloads the image onto his computer. He experiments with seeing what
the painting would look like if he modified or eliminated some area. He
might explore more complicated issues as well. For example he may want
to see what a landscape would look like if he placed a house or barn in
it, or if he the size, placement, shape and perspective within the
painting. Some software may be able to help solve a problem of choice
of colors, or imbalance in colors. By using the computer, the colors
can be made to shift from warm to cool, overall or only in parts.
Digital methods can play a big role in traditional art, but be cautioned
that it is neither inexpensive nor easy. You must purchase the software
and hardware required, plus there's the investment of time that is
required to learn the programs and how to apply them to your art. Each
painting has unique problems and solutions, and the many step-by-step
process required to get from point A to point B can overwhelm anyone.
But any artist, with the desire, can learn.
July 14, 2022
Have you heard of artists using acrylics for their paintings? For
centuries artists had the choice of using oils or watercolors to paint
their pictures, but in the 1940's acrylic paint came on the market. It
has become a popular medium in part because of its ease of use and
durability. Like watercolor, acrylics are water based, so you can thin
your paint with water and clean up with soap and water. On the other
hand, acrylics also can be used like oil paints to create impasto, or
thick, effects.
Sometimes temperature and humidity can cause an oil canvas or watercolor
paper to bend or move slightly in the frame, but that usually is not a
problem for acrylic paint, which is able to stretch on a properly
prepared support surface. It is for this reason that in some tests,
acrylics have withstood the test of time better than oil paint. Because
of their remarkable durability, acrylic paintings do not need to be
covered with glass, like watercolor paintings.
When artists acrylics first came on the market they were available only
in a heavy-body formulation. Heavy-body acrylics have a creamy quality
that facilitates mixing, color blending and brushstroke retention.
Fluid acrylics were produced when paint manufacturers saw that artists
wanted a thinner viscosity acrylic paint that could be used to achieve a
watercolor effect while retaining the color richness they had come to
count on in heavy-body acrylics. Fluid acrylics are perfect for
dry-brush techniques, detail work and staining, particularly on paper
made for watercolor.
Compared with oils, which must be cleaned with turpentine, acrylics use
water, so brushes and smears are easier to clean up. Their drying time
is fast, compared with oil paintings, which often take days to become
completely dry. Acrylics have the several advantages over watercolors.
They are more intense in color, multiple washes or coats will not mix
together and become muddy, and there are more options of surfaces on
which to paint.
If you are a traditional artist who usually paints with oils or
watercolors, you may want to get a few acrylics and experiment with
them. With the primary colors of red, blue, and yellow, you should be
able to mix any color you need for your next painting. Make sure you
purchase strong, professional-quality paints, not student-quality for
best results.
Have you heard of artists using acrylics for their paintings? For
centuries artists had the choice of using oils or watercolors to paint
their pictures, but in the 1940's acrylic paint came on the market. It
has become a popular medium in part because of its ease of use and
durability. Like watercolor, acrylics are water based, so you can thin
your paint with water and clean up with soap and water. On the other
hand, acrylics also can be used like oil paints to create impasto, or
thick, effects.
Sometimes temperature and humidity can cause an oil canvas or watercolor
paper to bend or move slightly in the frame, but that usually is not a
problem for acrylic paint, which is able to stretch on a properly
prepared support surface. It is for this reason that in some tests,
acrylics have withstood the test of time better than oil paint. Because
of their remarkable durability, acrylic paintings do not need to be
covered with glass, like watercolor paintings.
When artists acrylics first came on the market they were available only
in a heavy-body formulation. Heavy-body acrylics have a creamy quality
that facilitates mixing, color blending and brushstroke retention.
Fluid acrylics were produced when paint manufacturers saw that artists
wanted a thinner viscosity acrylic paint that could be used to achieve a
watercolor effect while retaining the color richness they had come to
count on in heavy-body acrylics. Fluid acrylics are perfect for
dry-brush techniques, detail work and staining, particularly on paper
made for watercolor.
Compared with oils, which must be cleaned with turpentine, acrylics use
water, so brushes and smears are easier to clean up. Their drying time
is fast, compared with oil paintings, which often take days to become
completely dry. Acrylics have the several advantages over watercolors.
They are more intense in color, multiple washes or coats will not mix
together and become muddy, and there are more options of surfaces on
which to paint.
If you are a traditional artist who usually paints with oils or
watercolors, you may want to get a few acrylics and experiment with
them. With the primary colors of red, blue, and yellow, you should be
able to mix any color you need for your next painting. Make sure you
purchase strong, professional-quality paints, not student-quality for
best results.
July 1, 2022
What is the importance of sketching? A sketch depicts its subject
in a linear fashion dealing primarily with the contour and basic linear
breakdown of a given subject. At times, a sketch may incorporate a bit
of tone achieved by linear hatching, scribbling, or smudging. Sketches
may convey accuracy in perspective, proportion, gesture and
compositional intent. It is often groundwork on which a more finished
piece is based.
Most painters begin their painting with a sketch of one form or
another. It is with this premise that the sketch-and-paint approach to
a quick study is often used. When sketching for a quick study, the
important information to get down is composition, subject placement,
basic shapes, perspective, proportions, and gesture.
It is important to understand that the purpose of the sketch is to
create a shorthand or rough skeleton for the artist to build on.
However, too finished of a sketch may inhibit them from painting or
drawing boldly and directly. About two to five minutes should be long
enough for any sketch before painting a quick study.
A sketch allows the artist to arrange, or rearrange, the elements of a
picture into a pleasing composition. When sketching a landscape, for
example, the artist may decide to move a tree from a distance and put it
into the foreground of the composition. Perhaps there are too many rocks
or boulders, eliminate them in the sketch. A sketch also may be
valuable to the artist to capture some aspects of the scene that might
be forgotten over time.
The initial sketches may be transferred quickly into value sketches.
Make tones with a soft pencil that can effectively produce dark values,
and show how the light performs in the picture. The artist should keep
sketches for later reference. They may want to use the sky from one sketch
and put it with another sketch for a final painting or drawing. It
might be useful to note on the sketch the date and location where the
sketch was made.
A sketch is not a drawing, it is a concept in values. The details are
unimportant. The important part is to get the rough idea down on
paper. The final painting or drawing will come later with more work on
details.
What is the importance of sketching? A sketch depicts its subject
in a linear fashion dealing primarily with the contour and basic linear
breakdown of a given subject. At times, a sketch may incorporate a bit
of tone achieved by linear hatching, scribbling, or smudging. Sketches
may convey accuracy in perspective, proportion, gesture and
compositional intent. It is often groundwork on which a more finished
piece is based.
Most painters begin their painting with a sketch of one form or
another. It is with this premise that the sketch-and-paint approach to
a quick study is often used. When sketching for a quick study, the
important information to get down is composition, subject placement,
basic shapes, perspective, proportions, and gesture.
It is important to understand that the purpose of the sketch is to
create a shorthand or rough skeleton for the artist to build on.
However, too finished of a sketch may inhibit them from painting or
drawing boldly and directly. About two to five minutes should be long
enough for any sketch before painting a quick study.
A sketch allows the artist to arrange, or rearrange, the elements of a
picture into a pleasing composition. When sketching a landscape, for
example, the artist may decide to move a tree from a distance and put it
into the foreground of the composition. Perhaps there are too many rocks
or boulders, eliminate them in the sketch. A sketch also may be
valuable to the artist to capture some aspects of the scene that might
be forgotten over time.
The initial sketches may be transferred quickly into value sketches.
Make tones with a soft pencil that can effectively produce dark values,
and show how the light performs in the picture. The artist should keep
sketches for later reference. They may want to use the sky from one sketch
and put it with another sketch for a final painting or drawing. It
might be useful to note on the sketch the date and location where the
sketch was made.
A sketch is not a drawing, it is a concept in values. The details are
unimportant. The important part is to get the rough idea down on
paper. The final painting or drawing will come later with more work on
details.
June 16, 2022
What is modern art? It all began with Cezanne's idea that the artist
should be concerned with their artwork, and not with imitating nature.
After the camera came into popular use, people realized that it can
produce likenesses but the artist can produce art--their own personal
arrangement and expression. Here are some artists that have risen to
that challenge.
Pablo Picasso, a Spaniard who spent most of his life in France, and his
friend George Braque, began a new style called Cubism about 1907. Cubism
takes apart the subject matter and reassembles it according to the
artist's own design. Picasso and Braque also began using Collage, a
type of painting that includes pasted paper in the work.
Abstract art began about 1910 by showing nature as basic shapes and
colors, often leaving out detail and shading. It developed to include
paintings of flat, rich, colored shapes. Leading abstract artists were
Kandinsky, Picasso, Mondrian and Stuart Davis. Such works are also
called Nonobjective Art.
Several artists wished to express more feeling rather than work in a
cold and mathematical way. Munch, Roualt, Chagall, and Picasso were
such artists. They were called Expressionists, using color, form, line,
value and texture as personal ways to reveal deep emotions about their
lives and their world. Other artists, including Matisse, Derain and
Dufy, used color to express their ideas. They painted subjects that
looked real but they used wild, bright pure color right from the tubes
to make such vivid paintings that people called them wild beasts. Their
artwork was called Fauvism.
Several artists used a very personal, almost dream-like method. As it
reached beyond the real world it was called Surrealism. In the
surrealists' world the objects seemed real enough but the paint produced
an unreal feeling. Dali, Tanguy, Miro and Klee worked in this world.
Following World War II, a new method of painting developed in the U. S.,
then swept around the world. This freewheeling style allowed personal
expression through color and brushwork, but in a nonobjective way. This
style was called Abstract Expression, or Action Painting. These
artists, Pollock, de Kooning, Mitchell, Klein, and others, didn't all
work in the same way, they developed their own approach using color,
brushwork, drips, slashes, swirls, textures and surfaces.
Because the public was used to seeing trees, vases and people in
paintings, many people found it hard to accept the new expressive art
forms at first. Contemporary artists have been freed from styles. Now
artists can express their feelings in many ways, and new media have
opened new doors in art styles. Some of these are not always understood
by observers, but artist are still trying to communicate in new ways today.
What is modern art? It all began with Cezanne's idea that the artist
should be concerned with their artwork, and not with imitating nature.
After the camera came into popular use, people realized that it can
produce likenesses but the artist can produce art--their own personal
arrangement and expression. Here are some artists that have risen to
that challenge.
Pablo Picasso, a Spaniard who spent most of his life in France, and his
friend George Braque, began a new style called Cubism about 1907. Cubism
takes apart the subject matter and reassembles it according to the
artist's own design. Picasso and Braque also began using Collage, a
type of painting that includes pasted paper in the work.
Abstract art began about 1910 by showing nature as basic shapes and
colors, often leaving out detail and shading. It developed to include
paintings of flat, rich, colored shapes. Leading abstract artists were
Kandinsky, Picasso, Mondrian and Stuart Davis. Such works are also
called Nonobjective Art.
Several artists wished to express more feeling rather than work in a
cold and mathematical way. Munch, Roualt, Chagall, and Picasso were
such artists. They were called Expressionists, using color, form, line,
value and texture as personal ways to reveal deep emotions about their
lives and their world. Other artists, including Matisse, Derain and
Dufy, used color to express their ideas. They painted subjects that
looked real but they used wild, bright pure color right from the tubes
to make such vivid paintings that people called them wild beasts. Their
artwork was called Fauvism.
Several artists used a very personal, almost dream-like method. As it
reached beyond the real world it was called Surrealism. In the
surrealists' world the objects seemed real enough but the paint produced
an unreal feeling. Dali, Tanguy, Miro and Klee worked in this world.
Following World War II, a new method of painting developed in the U. S.,
then swept around the world. This freewheeling style allowed personal
expression through color and brushwork, but in a nonobjective way. This
style was called Abstract Expression, or Action Painting. These
artists, Pollock, de Kooning, Mitchell, Klein, and others, didn't all
work in the same way, they developed their own approach using color,
brushwork, drips, slashes, swirls, textures and surfaces.
Because the public was used to seeing trees, vases and people in
paintings, many people found it hard to accept the new expressive art
forms at first. Contemporary artists have been freed from styles. Now
artists can express their feelings in many ways, and new media have
opened new doors in art styles. Some of these are not always understood
by observers, but artist are still trying to communicate in new ways today.
June 5, 2022
Do you remember how clothing styles changed over the decades during your
lifetime? If you are very old, you may remember that cloth became scarce
during World War II and clothes were plainer and used less fabric than
previously. Nylons were introduced in American in 1940, but were very
difficult to obtain. The lack of raw materials, and rationing, meant
that many clothes were recycled.
In the 1950's Christian Dior's "New Look" had a big impact on
everyday fashion. Women's dresses had tight fitting bodices, narrow
waists and longer fuller skirts. The brassiere was padded and wired to
enhance the bust. There was a steady paring down of the male
silhouette. A narrower cut was adopted for suits, with slimmer trousers
and long single-breasted jackets. Some younger males wore the "drape suit."
Although the decade of the 60's witnessed a multitude of styles for
women, it will be forever associated with the miniskirt. It was no
longer possible to wear traditional stockings, so designers experimented
with fine quality and patterned tights. The male wardrobe underwent a
radical transformation. Cheap, colorful clothes were produced for young
men and sold in the new boutiques.
In the 1970's women's fashions drew inspiration from a variety of
sources: feminism, the hippie movement, and civil rights. Easy care
synthetic fibers and psychedelic and patchwork patterns were popular.
The suit was only an occasional item of dress for most men. Their
fashion was typified by casual wear and separates. Hipster jeans were
popular cut tight over the hips and thighs and flaring from the knees.
Women's clothes in the '80's were a mix of glamour, body consciousness,
and the casual, multilayered look. Lycra, invented in 1958 and
previously used only for underwear, gave rise to the body-hugging
designs that went with the fitness craze. Menswear was influenced by an
economic boom and the young city gent took on a distinctly corporate image.
The 1990's were not epitomized by any single "look" for women.
Individualism was the key. There was a shift toward a more casual,
comfortable style. For men there was a rejection of the professional
look. Soft, natural fabrics were favored. Shirts often were worn
untucked in a loose, layered style.
By the turn of the century, "style" was not taken too seriously.
T-shirts, blue jeans, baseball hats now are worn by both women and men
for almost any but the most formal occasions. Clothing worn now is
whatever the individual chooses, and the emphasis is on comfort rather
than dictated by designers.
May 26, 2022
Do you have a special piece of clay pottery that you like very much? It
may bring back memories of the place where you got it or the person who
gave it to you, or maybe you just like how it looks. Clay was the first
material to which people turned their hand when they felt the urge to
make things. They used clay to make utensils for cooking and storing
food, but also created ornaments, representations of natural forms,
objects of religious veneration, and even books. People learned early
that clay could be hardened by drying in the sun, then that fire-baked
clay became as hard as stone.
The potter's wheel was developed in various regions throughout the
world, but not in America, where the Pueblo Indians used the coil
methods. Early Egyptians, Syrians and Persians are credited with
developing the first practical glazing material, an alkaline. Some of
the earliest glazes in ancient Egypt and Assyria were colored glass,
containing copper or iron, which produced green, turquoise, and yellow
vases. About the time of the Crusades, the art of glazing pottery with
a clear soda-lime had been developed by Middle Eastern artisans. This
permitted under glazing, painting pots with colored clays before the
glaze is fired, allowing the design to be seen glowing through the
transparent glaze.
The ancient art of making objects of pottery from clay is still very
much practiced, and not far away from us, at the base of West Mountain
in Hot Springs. Dryden Pottery still produces beautiful hand-made
pottery much as it was done throughout the centuries. James Kimberly
"Kimbo" Dryden, 69 years old, still uses his potter's wheel to turn out
beautiful bowls, vases, and other items. When they are finished and
glazed in the vivid way unique to Dryden Pottery, and survived firing in
the kiln, they are offered for sale in the attached retail shop.
According to the Democrat Gazette of Sunday, May 14, 2022, Kimbo's dad,
Jimmy Dryden, founded Dryden Pottery in 1946 in Ellsworth, Kansas, and
moved to Hot Springs a decade later with his wife Helen, when Kimbo was
three. He started learning early, and it was the beginning of a
lifetime spent making the brightly colored pottery coveted by Dryden
collectors. Kimbo went to study at Big Creek Pottery School in
Davenport, California, in 1970 then returned to work in the shop making
vases, plates, bowls, mugs and other pieces.
In April the Arkansas Arts Council announced that Kimbo Dryden was its
2022 Arkansas Living Treasure. This program, which began in 2002,
"Recognizes an Arkansas creative who excels in the creation of a
traditional craft of folk art and who preserves and advances their craft
through community outreach and teaching others." More than 500
employees have worked at Dryden Pottery over the years, and many
have gone on to continue working in that field. Clay creations have
been part of civilization since earliest times, and still provide people
with useful and beautiful objects in the home.
May 19, 2022
Did your grandmother teach you how to knit, or did your uncle show you how
to use a table saw? Chances are that if you learned a skill from
someone close to you this has become a fond memory, a happy time when
you formed a strong bond with this person as well as gained the ability
to make something useful or beautiful. You probably have developed by
now an ability or knowledge that you should pass on to your children or
grandchildren. As school winds down and summer starts you may have more
opportunities to be with these young family members. Why not use this
time to pass on some of the creative skills you have developed over the
years?
It's the process that's important, not the product. You don't expect
the child to do a perfect job of creating, but to get some knowledge of
the steps to take, the tools needed, and how to use the materials
involved. Patience is needed, not pressure to attain perfection.
Successfully tackling an activity can boost self-confidence. Break down
the process into bite-sized steps, and congratulate the child when they
attain each step. Sometimes the going may be tough, but help the child
work through the snags and keep on going. They may think they are
working on a craft, but you are teaching an attitude toward life.
Don't take the "lesson" too seriously, you might miss all the fun.
Encourage the child to be creative and not insist they create a product
that is an exact copy of yours. There is a time when you need to turn
down distractions and work hard. But just as important as working hard
is giving oneself permission to play. It is through play that we
discover new ideas and new approaches to all that we do. Play is
open-ended exploration. Instead of putting all your attention to the end
product, enjoy the experience of simply exploring. Don't worry so much
about where you end up, just enjoy the ride.
It's important for you to have tangible knowledge about techniques that
can be taught. But you also need empathy and the ability to gauge a
child's struggles that are not about techniques. It is important to
hear what children are saying, and to help them feel understood and to
help them resolve life struggles they may be experiencing. Working
together on a craft or art project together may open up this
opportunity. By sharing your talents with the world, you may provide a
moment of healing, happiness or joy for someone else, as well as
creating memories that both you and your child will hold dear for life.
May 13, 2022
Have you ever considered that your art or craft could be dangerous to
your health and safety? In his book, Safety in the Art room, Charles A.
Qually discusses the unique problems associated with the tools and
materials used, and the variety of processes performed in producing art
work. Equipment such as electric kilns used by potters, and saws,
lathes and drills used by woodworkers are obvious hazards to people who
don't know how to use them safely, or who have accidents caused by
carelessness. Other equipment with sharp blades used by artists include
paper cutters, scissors, and knives, and have the potential for causing
injury to artists who don't pay close attention and are not careful.
These pieces of equipment need to be stored when not in use to prevent
accidents.
Some art techniques rely on the use of dangerous liquids. Solvents are
almost always highly flammable. If they are used, their handling and
storage must be designed to reduce the possibility of fire. The flash
point is defined as the temperature at which the liquid gives off enough
vapor to form a mixture with air near the liquid's surface that will
ignite when a flame or spark is present. Paint thinner inhalation may
cause dizziness, and irritation to eyes, nose, and throat. Wash your
hands and surfaces after use and store them in a proper cabinet.
Turpentine should be avoided, substitute paint thinner. Never store
dangerous liquids in open containers. Waste disposal of rags or paper
towels that have been used with flammable or combustible liquids should
be handled differently from normal trash, preferably stored in a covered
metal container.
Adhesives of various kinds are often used in art projects. White glue,
rubber cement, wheat paste (wallpaper paste), model cement, and glue
sticks are all examples of adhesives used by artists and crafters. Many
of these have a smell not particularly inviting, so good ventilation
when using adhesives and dangerous liquids is important in the space
where you practice your art. Ventilation is the key to solving many of
the most serious health hazards in the studio. With effective and
complete ventilation there is almost no art material which cannot be
used safely, however the best and most practical approach is to
eliminate problem materials.
Keeping your studio or workshop neat can help you avoid accidents and
misuse of materials. An uncluttered workspace not only makes a neater
result, it can help the artist focus on the project at hand. If paint
is arranged in some kind of system, or canvas and paper sorted by size
and type, and if brushes are put away clean and ready to use again, it
can reduce frustration when trying to choose the supplies needed to
paint a picture. Keep storage containers clean and free of dust. Wash
hands frequently to keep your work neat. Good lighting is important for
most art projects. You may need to add a lamp to keep from straining
your eyes. Make sure your electrical appliances are in good condition.
If you have small children, or even older children who like to explore
and experiment, you may need to store your art supplies and equipment in
a secure location.
And finally, make a first-aid kit part of your art supplies. In spite
of best intentions, occasionally there are accidents. Artists find
themselves cutting, piercing, pounding, squeezing, pinching, and
heating, and there may be a slip causing a cut or abrasion which needs
attention. A small box with basic supplies might come in handy if and
when this happens. Keep your own health and safety, and that of your
family in mind and you immerse yourself in your art or craft project.
Have you ever considered that your art or craft could be dangerous to
your health and safety? In his book, Safety in the Art room, Charles A.
Qually discusses the unique problems associated with the tools and
materials used, and the variety of processes performed in producing art
work. Equipment such as electric kilns used by potters, and saws,
lathes and drills used by woodworkers are obvious hazards to people who
don't know how to use them safely, or who have accidents caused by
carelessness. Other equipment with sharp blades used by artists include
paper cutters, scissors, and knives, and have the potential for causing
injury to artists who don't pay close attention and are not careful.
These pieces of equipment need to be stored when not in use to prevent
accidents.
Some art techniques rely on the use of dangerous liquids. Solvents are
almost always highly flammable. If they are used, their handling and
storage must be designed to reduce the possibility of fire. The flash
point is defined as the temperature at which the liquid gives off enough
vapor to form a mixture with air near the liquid's surface that will
ignite when a flame or spark is present. Paint thinner inhalation may
cause dizziness, and irritation to eyes, nose, and throat. Wash your
hands and surfaces after use and store them in a proper cabinet.
Turpentine should be avoided, substitute paint thinner. Never store
dangerous liquids in open containers. Waste disposal of rags or paper
towels that have been used with flammable or combustible liquids should
be handled differently from normal trash, preferably stored in a covered
metal container.
Adhesives of various kinds are often used in art projects. White glue,
rubber cement, wheat paste (wallpaper paste), model cement, and glue
sticks are all examples of adhesives used by artists and crafters. Many
of these have a smell not particularly inviting, so good ventilation
when using adhesives and dangerous liquids is important in the space
where you practice your art. Ventilation is the key to solving many of
the most serious health hazards in the studio. With effective and
complete ventilation there is almost no art material which cannot be
used safely, however the best and most practical approach is to
eliminate problem materials.
Keeping your studio or workshop neat can help you avoid accidents and
misuse of materials. An uncluttered workspace not only makes a neater
result, it can help the artist focus on the project at hand. If paint
is arranged in some kind of system, or canvas and paper sorted by size
and type, and if brushes are put away clean and ready to use again, it
can reduce frustration when trying to choose the supplies needed to
paint a picture. Keep storage containers clean and free of dust. Wash
hands frequently to keep your work neat. Good lighting is important for
most art projects. You may need to add a lamp to keep from straining
your eyes. Make sure your electrical appliances are in good condition.
If you have small children, or even older children who like to explore
and experiment, you may need to store your art supplies and equipment in
a secure location.
And finally, make a first-aid kit part of your art supplies. In spite
of best intentions, occasionally there are accidents. Artists find
themselves cutting, piercing, pounding, squeezing, pinching, and
heating, and there may be a slip causing a cut or abrasion which needs
attention. A small box with basic supplies might come in handy if and
when this happens. Keep your own health and safety, and that of your
family in mind and you immerse yourself in your art or craft project.
May 5, 2022
Do you deal with stress or anxiety in your life? If so, you are not
alone. The stresses of the past two years have taken an emotional toll
on people of all ages. The American Psychological Association said that
84% of U. S. adults reported feeling at least one emotion associated
with prolonged stress in 2021. There are some things that you can do to
help improve your stress levels, including getting plenty of good sleep,
exercising and avoiding excess stimulants. Another approach is
mindfulness; a short period of prayer or meditation during the day can
help you feel better.
Some people turn to working with crafts or art to bring themselves a
sense of calm. The president of the American Art Therapy Association
believes in the mental health benefits of getting creative. A lot of
crafts have a kind of repetitive quality to them that are very
soothing. Crafting can be anything that activates your creative
impulses, from gardening an cooking to collage making. Any activity
that engages the imagination, puts you in the moment, and allows you to
bring forth something beautiful, provocative or compelling can help.
How do you find the activity that is right for you? lt depends on the
person, and what makes them feel relaxed and in control. For some people
that means learning something new. For others it means falling back
into something familiar. Does coloring feel good? Do watercolors feel
more relaxing, or does it feel too out of control, and you'd rather use a
pen and paper? You can play around with what feels good with you in
that moment. It can shift and change all the time, too. And don't
worry about whether or not you are a "good" artist. Whatever you do,
whatever you create is fine. Remind yourself that it's OK for it to be
challenging when you're learning something new and stick with it. Just
enjoy the process and have fun with it.
Ouachita Artists Gallery and Studio, behind the Gallery, in Mt. Ida
offers many opportunities to learn a new craft or to work on your
artistic skills. ARTrageous evenings from 6 to 8 p.m. on the first
Mondays of each month are relaxing times to work on an interesting
project. Bring your friends, and take home your unique creation for a
$5 fee. Bring your art project to the Open Studio on Mondays from 10
a.m. to 2 p.m., relax with others and learn from one another. In
addition to these regular events, special opportunities are offered,
such at the Pets in Pastels workshop offered on May 14th. Call
870-867-3115 for more information. There are many mental health
benefits from getting creative!
Do you deal with stress or anxiety in your life? If so, you are not
alone. The stresses of the past two years have taken an emotional toll
on people of all ages. The American Psychological Association said that
84% of U. S. adults reported feeling at least one emotion associated
with prolonged stress in 2021. There are some things that you can do to
help improve your stress levels, including getting plenty of good sleep,
exercising and avoiding excess stimulants. Another approach is
mindfulness; a short period of prayer or meditation during the day can
help you feel better.
Some people turn to working with crafts or art to bring themselves a
sense of calm. The president of the American Art Therapy Association
believes in the mental health benefits of getting creative. A lot of
crafts have a kind of repetitive quality to them that are very
soothing. Crafting can be anything that activates your creative
impulses, from gardening an cooking to collage making. Any activity
that engages the imagination, puts you in the moment, and allows you to
bring forth something beautiful, provocative or compelling can help.
How do you find the activity that is right for you? lt depends on the
person, and what makes them feel relaxed and in control. For some people
that means learning something new. For others it means falling back
into something familiar. Does coloring feel good? Do watercolors feel
more relaxing, or does it feel too out of control, and you'd rather use a
pen and paper? You can play around with what feels good with you in
that moment. It can shift and change all the time, too. And don't
worry about whether or not you are a "good" artist. Whatever you do,
whatever you create is fine. Remind yourself that it's OK for it to be
challenging when you're learning something new and stick with it. Just
enjoy the process and have fun with it.
Ouachita Artists Gallery and Studio, behind the Gallery, in Mt. Ida
offers many opportunities to learn a new craft or to work on your
artistic skills. ARTrageous evenings from 6 to 8 p.m. on the first
Mondays of each month are relaxing times to work on an interesting
project. Bring your friends, and take home your unique creation for a
$5 fee. Bring your art project to the Open Studio on Mondays from 10
a.m. to 2 p.m., relax with others and learn from one another. In
addition to these regular events, special opportunities are offered,
such at the Pets in Pastels workshop offered on May 14th. Call
870-867-3115 for more information. There are many mental health
benefits from getting creative!
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April 22, 2022
How has our modern culture been influenced by people in ancient times? Culture has many definitions. In the arts, culture refers to human-made elements of life that give us beauty and enjoyment. We do not exist in a vacuum. We have many contacts with others around the world, but our Western artistic culture has been influenced to a large degree by three ancient cultures, the Egyptians, Greeks, and Romans. The culture of Egypt was most important about 3000 B.C. to 500 B.C. Egyptian artists worked on wall painting, sculptures, huge buildings, temples and pyramids constructed for the rich and powerful rulers. Egyptians were very concerned with life after death. They filled the tombs of their leaders with artifacts such as art objects, statues and pictures of the animal-gods. These were made for the dead to enjoy in their second life. Ancient Egyptian structures are usually very large. The Great Sphinx is 120 feet high and 670 feet long on each side of its base. Tombs were placed in and under such structures. The pyramid of Cheops was built was built in approximately 2530 B. C., over 4,000 years ago. The development of countries in the Near East and the eastern Mediterranean Sea continued. There were a great many cultural achievements in Babylon, Assyria, Persia, Crete, Mycenae and Greece. Although Greek civilization is recorded as early as 1100 B.C., its art became important after 500 B.C. Beautifully proportioned sculpture and architecture were the joy of Greek people during the Golden Age of Pericles, 480-404 B.C. At this time the Acropolis in Athens was crowned with the Parthenon, still one of the world's most beautiful buildings, dedicated in 438 B.C. Greek architects introduced the carved column to history. They also created several different kinds of carved tops for these columns (Ionic, Doric, Corinthian), still used in buildings today. They often decorated the floors of their homes and shops with mosaics of polished stones. Their sculpture, usually of male and female gods, influenced future generations of artists. Roman art built on what the Greeks began. From 100 B.C. to 300 A.D. the Romans increased the size of their empire. Captured nations provided the work force to construct huge buildings. Roman architects used the arch in their aqueducts and bridges. They built domes and bridges of brick and concrete, which they invented. Their buildings often were very large and held many people. Roman artists also designed mosaics of stone and glass to decorate their buildings. They used fresco paintings (paintings of colored plaster) for added interest. Of course, they continued sculpting, often copying the Greeks. The Romans built the Colosseum, in Rome, finished in 82 A.D. It was 620 feet long, held as many as 70,000 spectators, and could be emptied in several minutes. They also built the Pantheon, and many baths, basilicas, theaters and forums. All of these greatly influence the work of later architects. In their book, Art in Your World, Brommer and Horn go on to describe influences of many cultures on the art we enjoy today. This book and many other books and magazines are available for you to read in the small library in the Shaw Studio of Ouachita Artists Gallery in Mt. Ida, which is open from 10 to 3, Mondays through Saturdays, and during the summer months will be open until 5 p.m. on Friday afternoons. |