Sunday 2 December 2007

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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

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.


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.

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." :)

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.

Landscape Painting Tips For Oil Painters

Landscape Painting Tips For Oil Painters
by: Ralph Serpe



There is something quite magical about painting outdoors. I feel comfortably secluded with nature having an almost spiritual connection when I paint a landscape. Landscape painting is a passion of mine. I would like to share some tips and techniques that I have become accustomed to using over the years.

My first bit of advice - try not to get overwhelmed by the scene in front of you. I recall when I first began painting landscapes I tried to copy everything exactly as I saw it. I tried to squeeze in every detail, paint every leaf, branch, and blade of grass. You will go crazy approaching a landscape this way. Try and paint your own impression of what you see and not a copy of it. Squint your eyes and see the landscape as a series of shapes, lights and darks, as opposed to seeing every detail. You can accomplish some amazing things that you never thought were inside, if you just relax, and let the painter inside come to the surface.

Painting on location is certainly a beautiful experience, but remember that you have to paint quite fast as the lighting will change quickly. I usually begin my paintings using a larger brush. This prevents me from focusing on the details and enables me to establish the major components of the painting. I also take a few shots of the scene with a digital camera. In the event that I am unable to capture the scene in one sitting, I now have a reference photo to complete the painting in my studio. Try toning your canvas with acrylic paint first before applying your oil paint. I find starting a landscape with toned ground makes it easier to judge values. You can also let some of that underpainting show through in some areas of your painting for an interesting effect.

Creating the illusion of depth or distance in your paintings can be accomplished using different techniques. You can adjust your colors by making them cooler and less intense for the distant objects, warmer and more intense for closer objects. Reduce the size of objects as they recede. You can also take away details and sharp edges to make objects appear more distant.

You should have a focal point, otherwise known as "center of interest" in your painting. All other objects in your painting should not compete with your focal point and should serve to draw the viewer to your center of interest.

Instead of jumping right for the paint, use a pencil and paper instead. Drawing is great practice. When I am drawing, I am more relaxed and intimate with the scene. I am training myself to see the various lights and darks of the scene without the use of color.

Bring only those items that you know you will need and use. When you focus too much of your time on lugging around unwanted materials, it takes away from the enjoyment of what you came there to do, paint!

Painting clouds appears to be one of the bigger challenges for beginners; I know it was for me. What I mentioned in the beginning about trying not to paint every detail applies to clouds as well. Clouds are three-dimensional objects made up of water and ice particles that reflect light so the color of your clouds will vary depending on the weather and lighting conditions. Remember general perspective rules when painting clouds. Clouds closer to you will generally be more detailed. As they recede into the distance they begin to lose detail and get smaller in size. Pay special attention to the edges of the clouds as sharp edges advance while smooth edges recede.

Make your composition as interesting as possible by balancing positive and negative space in your painting. The negative space surrounds the positive space and is equally important. Do not neglect the negative space, but at the same time, do not let it dominate your composition.

I hope this article on landscape painting tips was helpful. Just relax, let go and most importantly enjoy yourself!

About The Author


Ralph Serpe is Webmaster and Cofounder of Creative Spotlite - http://www.creativespotlite.com a free educational art and craft community. Visit Creative Spotlite today for more landscape painting tips.

Drawing On Creativity: How To Trick Your Brain

Drawing On Creativity: How To Trick Your Brain
by: Maya Talisman Frost



Can you draw?

Your answer to that question reveals a surprising amount about your brain and the way you integrate your right and left hemispheres. (In this article, the left side will be referred to as the dominant one, which is by far the most likely scenario.)

You see, the left side of the brain excels at verbal, analytical, rational and logical tasks. It's the dominant half. It takes over most of the time, using words to describe and define, figuring things out step by step, drawing conclusions based on facts and logic, and thinking in a linear way. The left side of the brain jumps right in with words and symbols, and is such a bully that it takes on even those tasks it isn't likely to perform well.

Now, the right side of the brain is completely different. It relies on nonverbal cues to process perceptions. It's good at tasks requiring the ability to see similarities, to understand how parts fit together as a whole, to make leaps of insight (those a-ha moments), and to perceive overall patterns at once. It tends to hang back a little, letting the left side take over most duties.

It's sort of like siblings. You've got a confident, verbal first child and a quiet, introspective, thoughtful second child. Who do you think wins the argument for that last dessert? Who chooses which television show to watch? Who dominates the conversation about where to go on a family vacation? The second child might have a valuable perspective, but the older one is so assertive that he tends to win most arguments and rule the roost.

If your answer to the drawing question is "No, I'm pathetic," it's likely your left brain is being a bit of a thug. Whenever you pick up a pencil and start to sketch, it's taking over with its tendency to verbalize images and analyze shapes. Meanwhile, the right side--the perceptual, spatial part of your brain--is over in the corner, raising its hand, trying to get attention. "Oh, pick me!" it says. Too bad that the left side is already busy drawing lines and forming a strategy.

What if you could outsmart the bully on the left? What if you could somehow give that right side of your brain its chance to shine?

According to Dr. Betty Edwards, a respected art educator and author of the best-selling book, Drawing On The Right Side Of The Brain, you can actually make a mental shift from what she refers to as the "L-mode"--the verbal, dominant form of thinking--to the "R-mode," which relies on visual cues. It's possible to get the right side to kick in and take over the task of drawing.

How? Well, we need to get tricky.

The left side takes over tasks UNLESS it finds a particular job undesirable. If a certain task takes too much time, is too detailed or slow or simply too difficult, then the left side gives up. So, the trick is presenting the task--in this case, drawing--in such a way that the right side is allowed to jump in.

This happens a lot with words. When we try to describe something verbally and find it too difficult, what do we do? We rely on gestures. Just try to describe a spiral staircase without using your hands.

Dr. Edwards teaches people to draw by presenting them with images that are upside down. This puts the left brain in a state of confusion so that it can't easily decipher shapes, assign a top and bottom, attach labels and categorize them to match stored memories.

The key to integrating your right side lies in looking for opportunities to allow it to become dominant. When presented with a confusing image, your left side gives up. We should literally turn things upside down in an effort to thwart the left brain's control and let the R-mode take over.

This same idea works in creative problem solving. Sometimes the best way to deal with a challenging issue is to sleep on it. When the left brain is exhausted, the intuitive, subjective, holistic right side has a chance to sneak in and come up with a solution that seems to have come "from nowhere". See? We don't even give our right brains credit for creative insights!

It's exciting to think that there are ways to outsmart our brains. By intentionally putting ourselves in a state of mental conflict, we can enhance our creativity.

Look for ways to plunge yourself into that discomfort zone. Whether we're tackling a picture or a problem, the key to jumpstarting our right brain lies in shifting our perspective.

Grab a pencil, turn the picture upside down, and start drawing! Somewhere inside you, that frustrated artist will be grinning from ear to ear.

About The Author


Maya Talisman Frost is a mind masseuse. Her work has inspired thinkers in over 70 countries. She serves up a unique blend of clarity, comfort and comic relief in her free weekly ezine, the Friday Mind Massage. To subscribe, visit http://www.massageyourmind.com.

Drawing On Creativity: How To Trick Your Brain

Drawing On Creativity: How To Trick Your Brain
by: Maya Talisman Frost



Can you draw?

Your answer to that question reveals a surprising amount about your brain and the way you integrate your right and left hemispheres. (In this article, the left side will be referred to as the dominant one, which is by far the most likely scenario.)

You see, the left side of the brain excels at verbal, analytical, rational and logical tasks. It's the dominant half. It takes over most of the time, using words to describe and define, figuring things out step by step, drawing conclusions based on facts and logic, and thinking in a linear way. The left side of the brain jumps right in with words and symbols, and is such a bully that it takes on even those tasks it isn't likely to perform well.

Now, the right side of the brain is completely different. It relies on nonverbal cues to process perceptions. It's good at tasks requiring the ability to see similarities, to understand how parts fit together as a whole, to make leaps of insight (those a-ha moments), and to perceive overall patterns at once. It tends to hang back a little, letting the left side take over most duties.

It's sort of like siblings. You've got a confident, verbal first child and a quiet, introspective, thoughtful second child. Who do you think wins the argument for that last dessert? Who chooses which television show to watch? Who dominates the conversation about where to go on a family vacation? The second child might have a valuable perspective, but the older one is so assertive that he tends to win most arguments and rule the roost.

If your answer to the drawing question is "No, I'm pathetic," it's likely your left brain is being a bit of a thug. Whenever you pick up a pencil and start to sketch, it's taking over with its tendency to verbalize images and analyze shapes. Meanwhile, the right side--the perceptual, spatial part of your brain--is over in the corner, raising its hand, trying to get attention. "Oh, pick me!" it says. Too bad that the left side is already busy drawing lines and forming a strategy.

What if you could outsmart the bully on the left? What if you could somehow give that right side of your brain its chance to shine?

According to Dr. Betty Edwards, a respected art educator and author of the best-selling book, Drawing On The Right Side Of The Brain, you can actually make a mental shift from what she refers to as the "L-mode"--the verbal, dominant form of thinking--to the "R-mode," which relies on visual cues. It's possible to get the right side to kick in and take over the task of drawing.

How? Well, we need to get tricky.

The left side takes over tasks UNLESS it finds a particular job undesirable. If a certain task takes too much time, is too detailed or slow or simply too difficult, then the left side gives up. So, the trick is presenting the task--in this case, drawing--in such a way that the right side is allowed to jump in.

This happens a lot with words. When we try to describe something verbally and find it too difficult, what do we do? We rely on gestures. Just try to describe a spiral staircase without using your hands.

Dr. Edwards teaches people to draw by presenting them with images that are upside down. This puts the left brain in a state of confusion so that it can't easily decipher shapes, assign a top and bottom, attach labels and categorize them to match stored memories.

The key to integrating your right side lies in looking for opportunities to allow it to become dominant. When presented with a confusing image, your left side gives up. We should literally turn things upside down in an effort to thwart the left brain's control and let the R-mode take over.

This same idea works in creative problem solving. Sometimes the best way to deal with a challenging issue is to sleep on it. When the left brain is exhausted, the intuitive, subjective, holistic right side has a chance to sneak in and come up with a solution that seems to have come "from nowhere". See? We don't even give our right brains credit for creative insights!

It's exciting to think that there are ways to outsmart our brains. By intentionally putting ourselves in a state of mental conflict, we can enhance our creativity.

Look for ways to plunge yourself into that discomfort zone. Whether we're tackling a picture or a problem, the key to jumpstarting our right brain lies in shifting our perspective.

Grab a pencil, turn the picture upside down, and start drawing! Somewhere inside you, that frustrated artist will be grinning from ear to ear.

About The Author


Maya Talisman Frost is a mind masseuse. Her work has inspired thinkers in over 70 countries. She serves up a unique blend of clarity, comfort and comic relief in her free weekly ezine, the Friday Mind Massage. To subscribe, visit http://www.massageyourmind.com.

Quick Tips On How to Draw a Realistic Face

Quick Tips On How to Draw a Realistic Face
by: Todd Harris




There are many artists who struggle with drawing a face and having it actually look like the person you are drawing. These tips should help you to achieve a more realistic outcome and have your drawings come to life.

The first tip is probably the most important. When you are drawing, draw from a good source or reference. For instance make sure that your photo is a really high quality. Make sure that the photo is big and clear, and not a lot of different lighting sources. Choose a subject that is interesting to you. If you want, a good idea is to draw something of one of the masters, like Beugereau. If what you are drawing doesn't hold an interest for you, you won't do as good a job on it, you'll have less patience, lose interest and never finish. But again, make sure that your reference is high quality because if it's not, you'll end up with garbage.

Next, begin your drawing with your outline. Different artists use different methods for this. Also, time is a consideration, so whether you use a grid method or do it by eye, make sure you are accurate. Of course, the grid is going to be more accurate but time or environment may not allow for this method. Also, as you gain more experience you may go by the eye more often as well. Block in and remember that you don't want to add in the fine details yet. Don't get caught up in working on an eye and all of the lighting and shapes of the eye at this point. Avoid finer detail till later.

Then you can start to divide the light from the shadows, hitting the core shadow outline hard making a distinct value difference between light and shadow.

Then go over it with a towel or cotton balls. Never let your skin come in contact with the paper because your sin is made of oil and it will cause great ugliness to appear on your drawing! Instead use a piece of paper under your drawing hand to help you avoid this. Some artists use gloves made for drawing as well. Try and hit the shadow hard and then after you have gone over with a towel erase out some highlights and make the core shadow darker.

You can start darkening shadows make sure that you are using your referenc to figure out where these are exactly. You may have to do this several times till you establish the value you are after.

Not all of the shadows are going to be dark. Never forget where your light sources are coming from. This is extremely important. Look for where the shadows are falling in direct relation to where the light source is coming from.

Start adding the finer details to your drawing.

Blend in light spots and identify the highlights in your subjects hair. A very beginner mistake is to draw each and every strand of hair. Hair needs to be treated as a mass. Remember this and your hair will turn out more realistic than ever before.

Once you feel you are done, you are almost done. What? Well when you are working with graphite, it can be extremely messy and you may need to do some major clean up of smudges. Use a kneaded eraser to lift these.

Take your time with your drawings and you will begin to see that these techniques can be really beneficial. Anyone can learn to draw, it takes some patience and willingness.


About The Author

Todd Harris is a master artist who is currently working as a concept art director for a multi-billion dollar corporation. He is trained in the Florence Academy Method. Learning2draw.com is a resource based website devoted to aspiring artists wishing to master figure drawing. Visit http://www.learning2draw.com to get tips, tricks, and techniques to master the human form.

Monday 7 May 2007

Brushstrokes art

The revolutionary Brushstrokes® art form offers the unique combination of modern day technology and Old World craftsmanship. We start with state-of-the-art optical and laser-scanning equipment that captures, with incredible accuracy, all the vibrant and subtle colors of the original painting as well as the depth, sweep and force of each of the artist's brush strokes. This information in all its detail is used with our patented Brushstrokes® process to create an image on canvas with three-dimensional texture and rich, authentic colors that is as close as you can get to the original.

At this stage of its creation, a Brushstrokes® is superior in quality to all other competitive products. But this is only the beginning. Our master artisans, academy trained from some of the finest schools in the world, apply a variety of special finishes to each image so that the light in your home highlights its vibrancy and beauty, as well as provide protection to the finished product.



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Don't miss out.

Tuesday 23 January 2007

Arts and design resource ebooks, in various subjects

Check them out, I personally recommend all these ebooks or resources, as they have helped me in the past, with various hobby ideas and sketch designs, through my many ongoing projects.

Wayne
Easydesignknowhow.com

Find that tattoo, for you or anyone you know

Find a tattoo!

Writing characters in fiction


How to write your characters so that they are believable!

Cross stitch designs


Need help with designs for cross stitch!

Web design tutorials

Web design skills to build your own website!

Home Craft Business

Essential input on how to start a home craft business!

Homecrafts work at home catalogue


Homecrafts for all ages and hobby types!

Ultimate tattoo ebook


Need inspiration for that design, get inspired here!

Online art gallery/porfolio


Need a place for your work to shine? then this place is for you!

Arts and crafts ebooks


Arts and crafts for anyone!

Art lessons in drawing and painting


Get the best classes in art and related painting courses!

Designs for japanese symbols


Into tattoo design,then get the know how to design japanese symbols!

Painting landscapes tutorial ebook


An excellent landscape painters tutorial that I personally recommend!

Ultimate creative arts ideas for kids


Need something arty and creative for the kids to do?!

Painting and drawing secrets


This ebook contains top painting and drawing tips for the advanced and amateur artist!

watercolour made easy ebook


Painting in watercolours simplified!

Friday 19 January 2007

To cafepress or not to cafepress!

Over at cafepress you can sign up to either a free basic store in which you can add yor own designs and log's to your stores or you can sign up to a premium store for a small fee in which you can add as many designs to the cafepress merchandise range as you want.

Making sure your designs are the correct size and clear is key to making your images stand out also you can use the usual promotion methods that you would use to promote a normal business, like newsletter subscriptions to capture subcribers and free and paid advertising.


There are many opportunities for someone who is not very good at designing or art, there are many sites on the internet that have free to use clip art that you can use royalty free for such things like this or anything similar.

http://easydesignknowhow.com/cafepress.php