Get Paper Crafts Workshop plus 3 other books for $1 each with membership to Crafter’s Choice book club. Join now!
Monday, 14 January 2008
Come Join The Crafters Choice Book Club
Learn all about the paper crafts workshop, what to make out of paper.
Get Paper Crafts Workshop plus 3 other books for $1 each with membership to Crafter’s Choice book club. Join now!
Get Paper Crafts Workshop plus 3 other books for $1 each with membership to Crafter’s Choice book club. Join now!
Sunday, 2 December 2007
Start Making some Money from your Websites
Webmasters! - Add hundreds of thousands of images to your site – Free!
Join the AllPosters.com Affiliates Program and get access to hundred of thousands of images for your site. AllPosters.com has images from popular movies, music groups, sports teams, fine art, and much more. Adding these images to your site will enhance your content.
Furthermore, you get paid for improving your site with poster/print images! All of the images you use will link to AllPosters.com where your site visitors can make purchases. When they buy something, AllPosters.com pays you 25% - 30% of the sale. If the visitor decides to purchase within 10 days of their last visit from your website, you'll still earn commission on the sale! It’s easy to sign-up, build links, and track your sales.
Sign up and make money soon!
Join the AllPosters.com Affiliates Program and get access to hundred of thousands of images for your site. AllPosters.com has images from popular movies, music groups, sports teams, fine art, and much more. Adding these images to your site will enhance your content.
Furthermore, you get paid for improving your site with poster/print images! All of the images you use will link to AllPosters.com where your site visitors can make purchases. When they buy something, AllPosters.com pays you 25% - 30% of the sale. If the visitor decides to purchase within 10 days of their last visit from your website, you'll still earn commission on the sale! It’s easy to sign-up, build links, and track your sales.
Sign up and make money soon!
Tuesday, 5 June 2007
How the Paint Color Chart Impresses People That View Your Work
How the Paint Color Chart Impresses People That View Your Work
By: Jimmy Cox
Experience has taught us that certain combinations of colors, whether in nature or art, affect the eye and mind agreeably, while others give offense. We call the former "harmonies," the latter "discords."
Just as numerous attempts have been made to discover the laws of light and of color vision, and to invent practical systems of color measurement and notation, great effort has been expended in trying to ferret out the reasons why some combinations of color are pleasing and others are not, and to devise laws to insure harmonious color employment. We have finally learned, however, that even if it were possible to grasp all such reasons, workable laws guaranteeing immunity against chromatic discord still could not be devised.
In view of the contrary claims of some writers, we offer the following arguments to substantiate our statement.
First, as we have demonstrated, colors change in effect according to their environment, each hue being modified by those adjacent to it. Color harmony is not merely a matter of selection, therefore, but also of arrangement a fact not nearly as commonly recognized as it should be. A color scheme extremely pleasing to the average person can become, in rearrangement, positively disturbing. Arrangement obviously cannot be controlled wholly by rule at least in representational paintings.
using your artistic talent
Area, like arrangement, influences color appearances, as we have seen. Harmonious schemes can often be made discordant, or at least uninteresting, simply by increasing or decreasing certain color areas. Of course, the reverse is also true. It is easy to see that a small spot of vivid red, which delightfully reinforces, through contrast, a large area of bright green, might, if sufficiently expanded, rival the green, causing a disturbing division of interest. But there are no arbitrary rules to be followed with regard to area and color harmony.
Nor are there definite laws governing the use of such phenomena when alternating bands of complementary colors were viewed from a certain distance. Yet effects such as this are capable of making some schemes disagreeable and others pleasing or telling.
Texture, although not a quality of color, is another influence that can seldom be ignored. In architecture and decoration, for example, materials harmonious in color often show textural inconsistency or discord. A mere coating of varnish, changing dull woodwork to shiny, can be enough to upset a scheme completely. Even in painting pictures, textural harmony is almost as important as color harmony the two are closely wedded yet there are no clear cut laws.
Color fitness or suitability must also be considered, as must that ever present matter of personal taste. After all, who is to say which colors harmonize and which do not? We have all seen that changing fashions can have a considerable effect on the average person`s ideas of what colors are or are not attractive and suitable for particular purposes, especially in relation to women`s clothing and interior decoration. There are also, as we are all aware, attitudes toward particular colors and color combinations that stem from temperament, national traditions, climate, environment and other unpredictable factors.
This should be enough to warn the student against the exaggerated statements of writers who claim or imply that their methods or systems of obtaining color harmony are infallible or universally applicable. Printed laws and clever devices designed to reveal color schemes can certainly be of help, but only in a very limited way.
Article Source: http://www.artsymmetry.com
Do You Know What A Color Manual For Artists Is? - FREE For A Limited Time - www.paintcolorchart.net
By: Jimmy Cox
Experience has taught us that certain combinations of colors, whether in nature or art, affect the eye and mind agreeably, while others give offense. We call the former "harmonies," the latter "discords."
Just as numerous attempts have been made to discover the laws of light and of color vision, and to invent practical systems of color measurement and notation, great effort has been expended in trying to ferret out the reasons why some combinations of color are pleasing and others are not, and to devise laws to insure harmonious color employment. We have finally learned, however, that even if it were possible to grasp all such reasons, workable laws guaranteeing immunity against chromatic discord still could not be devised.
In view of the contrary claims of some writers, we offer the following arguments to substantiate our statement.
First, as we have demonstrated, colors change in effect according to their environment, each hue being modified by those adjacent to it. Color harmony is not merely a matter of selection, therefore, but also of arrangement a fact not nearly as commonly recognized as it should be. A color scheme extremely pleasing to the average person can become, in rearrangement, positively disturbing. Arrangement obviously cannot be controlled wholly by rule at least in representational paintings.
using your artistic talent
Area, like arrangement, influences color appearances, as we have seen. Harmonious schemes can often be made discordant, or at least uninteresting, simply by increasing or decreasing certain color areas. Of course, the reverse is also true. It is easy to see that a small spot of vivid red, which delightfully reinforces, through contrast, a large area of bright green, might, if sufficiently expanded, rival the green, causing a disturbing division of interest. But there are no arbitrary rules to be followed with regard to area and color harmony.
Nor are there definite laws governing the use of such phenomena when alternating bands of complementary colors were viewed from a certain distance. Yet effects such as this are capable of making some schemes disagreeable and others pleasing or telling.
Texture, although not a quality of color, is another influence that can seldom be ignored. In architecture and decoration, for example, materials harmonious in color often show textural inconsistency or discord. A mere coating of varnish, changing dull woodwork to shiny, can be enough to upset a scheme completely. Even in painting pictures, textural harmony is almost as important as color harmony the two are closely wedded yet there are no clear cut laws.
Color fitness or suitability must also be considered, as must that ever present matter of personal taste. After all, who is to say which colors harmonize and which do not? We have all seen that changing fashions can have a considerable effect on the average person`s ideas of what colors are or are not attractive and suitable for particular purposes, especially in relation to women`s clothing and interior decoration. There are also, as we are all aware, attitudes toward particular colors and color combinations that stem from temperament, national traditions, climate, environment and other unpredictable factors.
This should be enough to warn the student against the exaggerated statements of writers who claim or imply that their methods or systems of obtaining color harmony are infallible or universally applicable. Printed laws and clever devices designed to reveal color schemes can certainly be of help, but only in a very limited way.
Article Source: http://www.artsymmetry.com
Do You Know What A Color Manual For Artists Is? - FREE For A Limited Time - www.paintcolorchart.net
Generating Better Illustration Concepts
Generating Better Illustration Concepts
By: A. Michael Shumate
In any illustration project, there are two basic decisions to be made regarding the image: 1) What style (which includes technique) will be used to execute the image, and 2) What concept is to be shown. Concept is a different consideration from style or media.
Of all the millions of individual illustration concepts that have been created over many centuries, there are only four different categories or kinds of concepts. We can call these the four basic Conceptual Approaches and will refer to them using the following terms:
Narrative Approach
This concept shows an event, a situation or a scene that actually happens in the story or subject being illustrated. This is the oldest and most common form of illustration. We see it on the walls of Egyptian tombs and other ancient art: King Narmer about to whack an enemy king with his war mace; Pharoah Akhenaton playing with his daughter while his wife, Nefertiti looks on. Narrative is the most common concept used for children’s picture books.
The key to distinguishing Narrative concepts from other concepts is that the interaction or event shown really occurs in the story. Think of it as a single freeze-frame from a movie. It is not editorializing about the story, just showing some important moment in the story. In fact, for a narrative approach to be successful, from a marketing point of view, it should show a moment that is particularly pivotal to the story.
A book cover for Mobey Dick could picture the body of Captain Ahab wrapped up in harpoon ropes around the white whale. Since this actually takes place in the story (sorry if I spoiled the ending for you) it is a prime example of a Narrative concept.
A poster for the comic opera, La Gordona Canta (The Fat Lady Sings), could show the leading character, Porkanella, singing to the poor, squashed Thinetto who she has pinned against the wall. Since this scene actually happens in the plot of the opera, it is a legitimate narrative approach.
In a magazine article about harmonious divorces, a narrative concept might show a couple sitting amicably at a table with a lawyer.
Cast or Character Approach
This approach merely shows the persons and/or objects and/or places discussed in a story or subject without reference to events in the story. The key to the Cast or Character approach is that the visual elements do not interact in the picture plane.
A Cast or Character approach on a cover the novel The Brothers Karamazov could show the four brothers’ faces side by side and even add the family mansion in the background; but Cast or Character approaches show no action and no situation from the story. It just shows the characters from the story.
A magazine article about “burned-out housewife syndrome” could show a woman with a worn, somewhat depressed and hollowed-out look.
The cover of a book on Archaeology could simply feature the facemask of Pharaoh Tutankhamen.
To the novice, cast or character approaches sometimes don’t even seem worthy of the term concept. After all, it is just showing the Character or Cast of characters from a story. But in the hands of a skillful artist, a Cast or Character illustration may be the most effective for a particular use.
Most of the illustrated covers for Cyrano de Bergerac have certainly shown just Cyrano with his huge nose and little else. Album covers for the opera Boris Goudinov often show a portrait of the troubled Czar Boris without any other reference to the story.
Movie posters are very often done in a montage approach, which is just a variation of the cast or character concept. One of the more famous posters for Star Wars (there were several different posters used in different cities) shows Luc and Leia, R2D2 and C3PO, Darth Vader and the death star. None of the characters are interacting with each other. Often characters are shown in different visual scales so that it is obvious that they are not being shown in the same three-dimensional space; they are in montage space.
Allegorical Approach
This concept may use invented characters to show an underlying principle or moral of the story. Conversely, real characters may be shown in an unreal situation. Sometimes even emotions or inanimate objects may be personified. The key for this kind of concept is that these situations don’t really happen in the story, but represent the concepts, feelings or morals of the story by using humans as the allegorical objects.
An illustration for an article on US-Canada trade relations could show Uncle Sam (representing the USA) chopping with an axe the crutch that a beaver (representing Canada) is leaning on. We know that there is no real Uncle Sam, he is an allegorical personification of the American state. Likewise there is no real beaver that is Canada’s mascot in the same way a real groundhog, Punxsutawney Phil, is the “official” groundhog for Groundhog Day. Uncle Sam and our beaver are allegorical.
An article on the misuse of power in government agencies (FBI, CIA, Department of Homeland Security, etc.) could show an average looking couple and their children shrinking in fear underneath a large man’s menacing shadow.
A different poster for Star Wars showed a large Darth Vader holding a smaller Princess Leia and Luk Skywalker in his menacing hand. Since Vader is the same general size as Leia and Luk, this concept is showing an unreal situation, one that represents the power of Vader compared to the other characters. It is an allegorical approach.
Symbolic Approach
Symbolic concepts are similar to Allegorical in that real characters from a story are not used. But symbolic concepts use non-personified, nonhuman or inanimate symbols to represent ideas. Symbolic approach elements are often graphic in nature and are extremely simplified. The key is that they are inanimate symbols and remain so in use.
A symbolic concept for an article on the erosion of the American society might show an American flag with large portions missing as if worn or eaten away.
A book on investments might have a coin planted in the ground with a hundred dollar bill sprouting from it.
A poster for the orchestral concert Love Themes from the Movies, could show several movie projectors, all shining overlapping heart images on the moon.
Left Brain, Right Brain
The two hemispheres of the human brain have distinct domains. The left side generally takes care of the verbal, mathematical and analytical functions, whereas the right side provides spatial, esthetic and visual abilities. It is as if we each have two brains, each with their own particular specialties. Generally, only one hemisphere can be dominant at a time.
Many illustrators have developed the right sides of their brains, which is to be expected. By deliberately thinking of an illustration assignment in terms of the four conceptual approaches, we are using the left side of the brain, which, for many illustrators and designers, is underutilized when they work. As you consider each of these concepts, make a written list or do quick thumbnails to record your ideas. By deliberately considering the subject in this analytical way, you are getting the left side to collaborate or jump-start the right side. Two brains are better than one.
By deliberately using each of the conceptual approaches, one can increase, not only the total number of concepts generated, but, with practice, the quality of concepts as well. With a basket-full of ideas, the artist can turn off the idea stream and put on another hat. Now each idea can be examined for its individual merits.
An illustrator who approaches this evaluation process from a position of wealth in concepts, not poverty, will more likely come through with a fine solution in the end. If an art director or an illustrator only has one or two ideas, the task of being honest in evaluating those few ideas in the creative mix becomes more difficult. How can you reject an idea because it isn’t quite right if that’s the only idea you have?
Ideally, a designer or illustrator should come through the conceptualizing phase with a wealth of ideas, not just a hand-full. Learning this conceptualizing process can help to find the idea that is--not just OK, or even good--but the very best for the project at hand.
Article Source: http://www.artsymmetry.com
© 2006 A. Michael Shumate A. Michael Shumate is professor of graphic design / illustration at St. Lawrence College in Kingston, Ontario, and a graphic designer and illustrator for over forty years. He's the son of an artist and a musician, husband to a musician and father to more musicians, filmmakers, a writer, a photographer and a fine woodworker. He is the author of "Success In The Arts: What It Takes to Make It in Creative Fields." To learn more, visit www.elfstonepress.com. Michael is also a speaker on subjects relating to success in the arts. To learn more, visit www.grand-poobah.com.
By: A. Michael Shumate
In any illustration project, there are two basic decisions to be made regarding the image: 1) What style (which includes technique) will be used to execute the image, and 2) What concept is to be shown. Concept is a different consideration from style or media.
Of all the millions of individual illustration concepts that have been created over many centuries, there are only four different categories or kinds of concepts. We can call these the four basic Conceptual Approaches and will refer to them using the following terms:
Narrative Approach
This concept shows an event, a situation or a scene that actually happens in the story or subject being illustrated. This is the oldest and most common form of illustration. We see it on the walls of Egyptian tombs and other ancient art: King Narmer about to whack an enemy king with his war mace; Pharoah Akhenaton playing with his daughter while his wife, Nefertiti looks on. Narrative is the most common concept used for children’s picture books.
The key to distinguishing Narrative concepts from other concepts is that the interaction or event shown really occurs in the story. Think of it as a single freeze-frame from a movie. It is not editorializing about the story, just showing some important moment in the story. In fact, for a narrative approach to be successful, from a marketing point of view, it should show a moment that is particularly pivotal to the story.
A book cover for Mobey Dick could picture the body of Captain Ahab wrapped up in harpoon ropes around the white whale. Since this actually takes place in the story (sorry if I spoiled the ending for you) it is a prime example of a Narrative concept.
A poster for the comic opera, La Gordona Canta (The Fat Lady Sings), could show the leading character, Porkanella, singing to the poor, squashed Thinetto who she has pinned against the wall. Since this scene actually happens in the plot of the opera, it is a legitimate narrative approach.
In a magazine article about harmonious divorces, a narrative concept might show a couple sitting amicably at a table with a lawyer.
Cast or Character Approach
This approach merely shows the persons and/or objects and/or places discussed in a story or subject without reference to events in the story. The key to the Cast or Character approach is that the visual elements do not interact in the picture plane.
A Cast or Character approach on a cover the novel The Brothers Karamazov could show the four brothers’ faces side by side and even add the family mansion in the background; but Cast or Character approaches show no action and no situation from the story. It just shows the characters from the story.
A magazine article about “burned-out housewife syndrome” could show a woman with a worn, somewhat depressed and hollowed-out look.
The cover of a book on Archaeology could simply feature the facemask of Pharaoh Tutankhamen.
To the novice, cast or character approaches sometimes don’t even seem worthy of the term concept. After all, it is just showing the Character or Cast of characters from a story. But in the hands of a skillful artist, a Cast or Character illustration may be the most effective for a particular use.
Most of the illustrated covers for Cyrano de Bergerac have certainly shown just Cyrano with his huge nose and little else. Album covers for the opera Boris Goudinov often show a portrait of the troubled Czar Boris without any other reference to the story.
Movie posters are very often done in a montage approach, which is just a variation of the cast or character concept. One of the more famous posters for Star Wars (there were several different posters used in different cities) shows Luc and Leia, R2D2 and C3PO, Darth Vader and the death star. None of the characters are interacting with each other. Often characters are shown in different visual scales so that it is obvious that they are not being shown in the same three-dimensional space; they are in montage space.
Allegorical Approach
This concept may use invented characters to show an underlying principle or moral of the story. Conversely, real characters may be shown in an unreal situation. Sometimes even emotions or inanimate objects may be personified. The key for this kind of concept is that these situations don’t really happen in the story, but represent the concepts, feelings or morals of the story by using humans as the allegorical objects.
An illustration for an article on US-Canada trade relations could show Uncle Sam (representing the USA) chopping with an axe the crutch that a beaver (representing Canada) is leaning on. We know that there is no real Uncle Sam, he is an allegorical personification of the American state. Likewise there is no real beaver that is Canada’s mascot in the same way a real groundhog, Punxsutawney Phil, is the “official” groundhog for Groundhog Day. Uncle Sam and our beaver are allegorical.
An article on the misuse of power in government agencies (FBI, CIA, Department of Homeland Security, etc.) could show an average looking couple and their children shrinking in fear underneath a large man’s menacing shadow.
A different poster for Star Wars showed a large Darth Vader holding a smaller Princess Leia and Luk Skywalker in his menacing hand. Since Vader is the same general size as Leia and Luk, this concept is showing an unreal situation, one that represents the power of Vader compared to the other characters. It is an allegorical approach.
Symbolic Approach
Symbolic concepts are similar to Allegorical in that real characters from a story are not used. But symbolic concepts use non-personified, nonhuman or inanimate symbols to represent ideas. Symbolic approach elements are often graphic in nature and are extremely simplified. The key is that they are inanimate symbols and remain so in use.
A symbolic concept for an article on the erosion of the American society might show an American flag with large portions missing as if worn or eaten away.
A book on investments might have a coin planted in the ground with a hundred dollar bill sprouting from it.
A poster for the orchestral concert Love Themes from the Movies, could show several movie projectors, all shining overlapping heart images on the moon.
Left Brain, Right Brain
The two hemispheres of the human brain have distinct domains. The left side generally takes care of the verbal, mathematical and analytical functions, whereas the right side provides spatial, esthetic and visual abilities. It is as if we each have two brains, each with their own particular specialties. Generally, only one hemisphere can be dominant at a time.
Many illustrators have developed the right sides of their brains, which is to be expected. By deliberately thinking of an illustration assignment in terms of the four conceptual approaches, we are using the left side of the brain, which, for many illustrators and designers, is underutilized when they work. As you consider each of these concepts, make a written list or do quick thumbnails to record your ideas. By deliberately considering the subject in this analytical way, you are getting the left side to collaborate or jump-start the right side. Two brains are better than one.
By deliberately using each of the conceptual approaches, one can increase, not only the total number of concepts generated, but, with practice, the quality of concepts as well. With a basket-full of ideas, the artist can turn off the idea stream and put on another hat. Now each idea can be examined for its individual merits.
An illustrator who approaches this evaluation process from a position of wealth in concepts, not poverty, will more likely come through with a fine solution in the end. If an art director or an illustrator only has one or two ideas, the task of being honest in evaluating those few ideas in the creative mix becomes more difficult. How can you reject an idea because it isn’t quite right if that’s the only idea you have?
Ideally, a designer or illustrator should come through the conceptualizing phase with a wealth of ideas, not just a hand-full. Learning this conceptualizing process can help to find the idea that is--not just OK, or even good--but the very best for the project at hand.
Article Source: http://www.artsymmetry.com
© 2006 A. Michael Shumate A. Michael Shumate is professor of graphic design / illustration at St. Lawrence College in Kingston, Ontario, and a graphic designer and illustrator for over forty years. He's the son of an artist and a musician, husband to a musician and father to more musicians, filmmakers, a writer, a photographer and a fine woodworker. He is the author of "Success In The Arts: What It Takes to Make It in Creative Fields." To learn more, visit www.elfstonepress.com. Michael is also a speaker on subjects relating to success in the arts. To learn more, visit www.grand-poobah.com.
Sunday, 3 June 2007
Oil Painting: Solvents and Resins
Oil Painting: Solvents and Resins
by: Vijay Kanth
The properties of the various solvents and resins used in an oil painting
Solvents are added to oil paints for temporary change, they are designed to work in a way such that they evaporate consistently and completely as the oil paint dries. (Technically, the more correct term is diluents, as not all are solvents, but it's not the term very commonly used.) Solvents are also used to soften resins, making mediums, cleaning up, and also for cleaning brushes. It is very essential to use solvents in a well-ventilated room and you need to remember that they are flammable (catch fire easily).
Turpentine is the traditional solvent used in the oil painting. It's actually based on tree resin and has a very fast evaporation rate, releasing harmful vapors. It could also be absorbed through healthy skin. Try using only artist quality turpentine as the industrial variety you will find in hardware stores probably contains impurities; it needs to be colorless, like water. It is also known as spirit of turpentine, oil of turpentine, genuine turpentine, English turpentine, distilled turpentine; double rectified turpentine, or even simply turps.
Mineral spirits is based on pure petroleum and has a moderate evaporation rate, releasing harmful vapors. It is not absorbed through healthy skin like turpentine. Mineral spirits is less expensive than turpentine. Mineral spirits is a stronger solvent than odorless mineral spirits, also called as white spirits.
Odorless mineral spirits is based on petroleum and has a reasonable evaporation rate. It is again not absorbed through healthy skin. It's quite expensive than normal mineral spirits as it has had some of the harmful perfumed solvents removed. Good brands include Turpenoid, Thin-ex, and Gamsol.
Tip: Test the quality of a solvent by putting a little on a drop of paper and to let it evaporate. If it doesn't leave any resident, stain, or smell, it needs to be good enough for oil painting.
Resins are used to increase the shine of oil paint, reduce the color, reduce drying time of a medium, and add body to drying oils. The most used one is a natural resin known as Damar that should be mixed with turpentine as it would not thoroughly dissolve when mixed with mineral spirits. Damar could also be used as a varnish.
About The Author
Vijay Kanth is a SEO copywriter having more than 3 years of experience in this field who is currently working for the site 1artclub.com. For further information on oil paintings and Solvents please visit http://www.1artclub.com/ or contact me through mail: 1artclubpainting@gmail.com.
by: Vijay Kanth
The properties of the various solvents and resins used in an oil painting
Solvents are added to oil paints for temporary change, they are designed to work in a way such that they evaporate consistently and completely as the oil paint dries. (Technically, the more correct term is diluents, as not all are solvents, but it's not the term very commonly used.) Solvents are also used to soften resins, making mediums, cleaning up, and also for cleaning brushes. It is very essential to use solvents in a well-ventilated room and you need to remember that they are flammable (catch fire easily).
Turpentine is the traditional solvent used in the oil painting. It's actually based on tree resin and has a very fast evaporation rate, releasing harmful vapors. It could also be absorbed through healthy skin. Try using only artist quality turpentine as the industrial variety you will find in hardware stores probably contains impurities; it needs to be colorless, like water. It is also known as spirit of turpentine, oil of turpentine, genuine turpentine, English turpentine, distilled turpentine; double rectified turpentine, or even simply turps.
Mineral spirits is based on pure petroleum and has a moderate evaporation rate, releasing harmful vapors. It is not absorbed through healthy skin like turpentine. Mineral spirits is less expensive than turpentine. Mineral spirits is a stronger solvent than odorless mineral spirits, also called as white spirits.
Odorless mineral spirits is based on petroleum and has a reasonable evaporation rate. It is again not absorbed through healthy skin. It's quite expensive than normal mineral spirits as it has had some of the harmful perfumed solvents removed. Good brands include Turpenoid, Thin-ex, and Gamsol.
Tip: Test the quality of a solvent by putting a little on a drop of paper and to let it evaporate. If it doesn't leave any resident, stain, or smell, it needs to be good enough for oil painting.
Resins are used to increase the shine of oil paint, reduce the color, reduce drying time of a medium, and add body to drying oils. The most used one is a natural resin known as Damar that should be mixed with turpentine as it would not thoroughly dissolve when mixed with mineral spirits. Damar could also be used as a varnish.
About The Author
Vijay Kanth is a SEO copywriter having more than 3 years of experience in this field who is currently working for the site 1artclub.com. For further information on oil paintings and Solvents please visit http://www.1artclub.com/ or contact me through mail: 1artclubpainting@gmail.com.
Holiday Arts and Craft on a Budget
Holiday Arts and Craft on a Budget
by: Stephanie Lynn Peeden
The best time for arts and craft projects comes at the end of the year. The spirit starts to drill into everyone around Halloween, working steadily through Thanksgiving, and climaxes with Christmas. It's this time that we care more for those heart-felt gifts, since we've been pretty busy to ourselves the rest of the year.
However, you do not need to break the bank for a warm gift to give someone, as many of us already know. There are always things in the realm of "cute" and "darling", that can give a wonderful impression to our family and friends.
Halloween can be an easy time to grab a smile from someone with a "Ghost Pop". All you need is a small lollipop with a wrapper, a sheet of tissue paper, and a small rubberband. (see where this is going? :)
Place the tissue paper over and around the lollipop, wrap the rubberband around the base several times, and then draw your "ghostly" face on the pop with a permanent maker. (Careful though, the marker's ink will spread quickly, just a few dots is usually good enough.) This is an easy, fun, very cheap craft for the holiday, and best of all, the receiver of this gift has a nice snack also!
Thanksgiving is a tough time to give due attention to a nice craft, since Christmas season is starting to wind-up in everyone's mind. Give it a little effort though, and you can have something to decorate your home with for many years to come. I think a good one is to take a small scrap sheet of treated wood, (wood that has been treated to withstand the elements of the outdoors. A piece about 2 to 3 feet is nice), draw a cartoon-like turkey on it, and then cut or have it cut around the border of your turkey. Then, "color" your turkey by painting it. With a small stake nailed to the back of it, you have a wonderful yard decoration for all to see! (Putting the date, and artist's name on the back could make it a nice "heirloom" also, if you use a good piece of wood that will last.)
Christmas is the time when stores are packed with shoppers, Stay at home one day and make a few gifts of your own. You may be surprised at what you can come up with! Take an old seasonal dish towel, the kind that have a decoration for the holiday, and an embroidery hoop. (The hoop can be purchased fairly cheap at places like Wal-mart.) Stretch the towel over the hoop and clamp it. Cut the edge of the towel off, and wa-la!, a thought-ful kitchen decoration for someone! (Actually, it would look nice anywhere in the home or even at work for some people.)
Whatever kind of crafts you find yourself doing this year, make sure you are careful, and have FUN making and sharing your "gifts from the heart". Tis the Season! -Stephanie
Copywright, October 2006 http://stephshomeprojects.com
About The Author
You can find other great projects by going to Stephanie's web-site http://stephshomeprojects.com
Stephanie Lynn Peeden is a stay-at-home mom who experiments with arts and craft projects quite often. She likes to say that "What you can come up with is only limited by your imagination, but sometimes you need a little assistance." :)
by: Stephanie Lynn Peeden
The best time for arts and craft projects comes at the end of the year. The spirit starts to drill into everyone around Halloween, working steadily through Thanksgiving, and climaxes with Christmas. It's this time that we care more for those heart-felt gifts, since we've been pretty busy to ourselves the rest of the year.
However, you do not need to break the bank for a warm gift to give someone, as many of us already know. There are always things in the realm of "cute" and "darling", that can give a wonderful impression to our family and friends.
Halloween can be an easy time to grab a smile from someone with a "Ghost Pop". All you need is a small lollipop with a wrapper, a sheet of tissue paper, and a small rubberband. (see where this is going? :)
Place the tissue paper over and around the lollipop, wrap the rubberband around the base several times, and then draw your "ghostly" face on the pop with a permanent maker. (Careful though, the marker's ink will spread quickly, just a few dots is usually good enough.) This is an easy, fun, very cheap craft for the holiday, and best of all, the receiver of this gift has a nice snack also!
Thanksgiving is a tough time to give due attention to a nice craft, since Christmas season is starting to wind-up in everyone's mind. Give it a little effort though, and you can have something to decorate your home with for many years to come. I think a good one is to take a small scrap sheet of treated wood, (wood that has been treated to withstand the elements of the outdoors. A piece about 2 to 3 feet is nice), draw a cartoon-like turkey on it, and then cut or have it cut around the border of your turkey. Then, "color" your turkey by painting it. With a small stake nailed to the back of it, you have a wonderful yard decoration for all to see! (Putting the date, and artist's name on the back could make it a nice "heirloom" also, if you use a good piece of wood that will last.)
Christmas is the time when stores are packed with shoppers, Stay at home one day and make a few gifts of your own. You may be surprised at what you can come up with! Take an old seasonal dish towel, the kind that have a decoration for the holiday, and an embroidery hoop. (The hoop can be purchased fairly cheap at places like Wal-mart.) Stretch the towel over the hoop and clamp it. Cut the edge of the towel off, and wa-la!, a thought-ful kitchen decoration for someone! (Actually, it would look nice anywhere in the home or even at work for some people.)
Whatever kind of crafts you find yourself doing this year, make sure you are careful, and have FUN making and sharing your "gifts from the heart". Tis the Season! -Stephanie
Copywright, October 2006 http://stephshomeprojects.com
About The Author
You can find other great projects by going to Stephanie's web-site http://stephshomeprojects.com
Stephanie Lynn Peeden is a stay-at-home mom who experiments with arts and craft projects quite often. She likes to say that "What you can come up with is only limited by your imagination, but sometimes you need a little assistance." :)
Gothic Décor - Enter The Dark Realm
Gothic Décor - Enter The Dark Realm
by: Michael Holland
Gothic décor is often associated with medieval designs, which is not surprising considering the two are quite similar.
However the major difference between gothic and medieval, is that gothic décor is usually much darker, and perhaps in a modern sense, a little more "stereotypical".
When it comes to gothic décor you need to think dark. Everything considered gothic is void of bright colors. The major gothic colors include black, deep purples such as eggplant or violet, black, deep greens such as forest green, black, royal blue, black, crimson reds, black, silver, and black-you get the idea.
Gothic décor themes will vary depending on what tastes your child has. There are two basic gothic types that will be taken into consideration here:
1. Traditional Gothic theme
2. Modern Gothic theme
The traditional gothic theme is one that consists of dark colors, and is lightly based on the period that existed in Northern Europe between the 12th and 15th century. A room fashioned in this type of gothic décor often resembles that of a medieval dungeon or bedroom. The following is only an example of what such a room could consist of:
* Dark paint or wallpaper on the walls
* 4-poster wooden bed with canopy and dark drapes
* A black tapestry with a different colored intricate design or symbol. Often such tapestries can also be used as bed covers.
* Various old oil paintings or wall hangings
* Small pewter statues of dragons, gargoyles, fairies, wizards, angels or ghouls, etc.
* Candle holders on the walls or for tables, often designed with dragons, etc.
* Themed incense burners
* Dark colored throne chair
* As well as various other accessories such as mirrors, lamps and clocks that are uniquely themed with dragons, gargoyles and so on.
As for the modern gothic theme, this type of gothic décor is far less medieval, and much more “punk”. This is because modern Goths associate themselves with current dark imagery that is found within heavy metal/rock music and horror/cult movie classics. Here is an example of a room that could appeal to the modern goth:
* Black painted walls
* Canopy bed
* Wall art such as posters of favorite rock bands, movies, old world or dark symbols, fantasy/folklore such as fairies, wizards, vampires etc.
* Small pewter statues of gargoyles, ghouls, skulls, fairies, fallen angels
* Low wattage lights / black lights
* Themed candleholders
* Themed incense burners
* Furniture painted black
* Black plastic, aluminum, or vinyl chairs
* Space with TV and Stereo system.
Although the above two examples are extreme, you should have a better idea of what to look for, and expect, if your child is interested in gothic décor.
Something else you may wish to look into, if your child would like a gothic décor theme, is a wall mural. You don’t have to be an artist, or even hire a professional to accomplish this task. All you require is a simple image, which your child can choose from the internet or elsewhere, and transfer it to transparency film.
Use a projector to display the image on the wall, and then copy and paint to create the perfect gothic décor wall design that your child can take joy in.
Don’t be afraid to explore the dark mysteries of gothic décor that interest your child. Encourage their imagination; indulge their desires for their room, even if it makes you cringe slightly to do so. Remember, as long as you approve, there is no reason why you both can’t be happy.
About The Author
Michael Holland is the creator of http://www.kids-rooms-and-crafts.com and http://www.home-decorating-made-easy.com. His web sites offers lots of FREE decorating tips and ideas for decorating your home.
by: Michael Holland
Gothic décor is often associated with medieval designs, which is not surprising considering the two are quite similar.
However the major difference between gothic and medieval, is that gothic décor is usually much darker, and perhaps in a modern sense, a little more "stereotypical".
When it comes to gothic décor you need to think dark. Everything considered gothic is void of bright colors. The major gothic colors include black, deep purples such as eggplant or violet, black, deep greens such as forest green, black, royal blue, black, crimson reds, black, silver, and black-you get the idea.
Gothic décor themes will vary depending on what tastes your child has. There are two basic gothic types that will be taken into consideration here:
1. Traditional Gothic theme
2. Modern Gothic theme
The traditional gothic theme is one that consists of dark colors, and is lightly based on the period that existed in Northern Europe between the 12th and 15th century. A room fashioned in this type of gothic décor often resembles that of a medieval dungeon or bedroom. The following is only an example of what such a room could consist of:
* Dark paint or wallpaper on the walls
* 4-poster wooden bed with canopy and dark drapes
* A black tapestry with a different colored intricate design or symbol. Often such tapestries can also be used as bed covers.
* Various old oil paintings or wall hangings
* Small pewter statues of dragons, gargoyles, fairies, wizards, angels or ghouls, etc.
* Candle holders on the walls or for tables, often designed with dragons, etc.
* Themed incense burners
* Dark colored throne chair
* As well as various other accessories such as mirrors, lamps and clocks that are uniquely themed with dragons, gargoyles and so on.
As for the modern gothic theme, this type of gothic décor is far less medieval, and much more “punk”. This is because modern Goths associate themselves with current dark imagery that is found within heavy metal/rock music and horror/cult movie classics. Here is an example of a room that could appeal to the modern goth:
* Black painted walls
* Canopy bed
* Wall art such as posters of favorite rock bands, movies, old world or dark symbols, fantasy/folklore such as fairies, wizards, vampires etc.
* Small pewter statues of gargoyles, ghouls, skulls, fairies, fallen angels
* Low wattage lights / black lights
* Themed candleholders
* Themed incense burners
* Furniture painted black
* Black plastic, aluminum, or vinyl chairs
* Space with TV and Stereo system.
Although the above two examples are extreme, you should have a better idea of what to look for, and expect, if your child is interested in gothic décor.
Something else you may wish to look into, if your child would like a gothic décor theme, is a wall mural. You don’t have to be an artist, or even hire a professional to accomplish this task. All you require is a simple image, which your child can choose from the internet or elsewhere, and transfer it to transparency film.
Use a projector to display the image on the wall, and then copy and paint to create the perfect gothic décor wall design that your child can take joy in.
Don’t be afraid to explore the dark mysteries of gothic décor that interest your child. Encourage their imagination; indulge their desires for their room, even if it makes you cringe slightly to do so. Remember, as long as you approve, there is no reason why you both can’t be happy.
About The Author
Michael Holland is the creator of http://www.kids-rooms-and-crafts.com and http://www.home-decorating-made-easy.com. His web sites offers lots of FREE decorating tips and ideas for decorating your home.
Subscribe to:
Posts (Atom)
