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Artist Creativity

How Do Art Form Vary from Each Other?

Art can take very unique forms. A few the different kinds of art include original art, modern paintings, and art from the Impressionist era. Art that is original, by definition, is work that is one-of-a-kind and it can be any kind of art, not just a painting as long as the art is generated by the real artists themselves. Modern art is defined as art “of the present times.” Finally, impressionist artwork is work in which the artist paints the piece like he or she has just viewed something very quickly. Art can be a great method by which you lose yourself in your thoughts, either when creating it or when viewing it.

Original art is the one-of-a-kind painting or unique creation done by an artist. Original art is anything that is created solely by the artists themselves. Imitations of well-known paintings like the Mona Lisa have been created, but it is easy for true art connoisseurs to know the subtle differences between an original and a replica. Most likely, the best form of art is in its original form. Almost all of, the original pieces of famous paintings can be found in museums all around the world. For instance, the “Mona Lisa” is located at the Louvre in Paris, along with other Da Vinci works.
The contemporary art era can be described as all forms of modern art created from the 1900s to the present. This type of work creates the possibility to call almost anything art. Modern art is also viewed as a method by which to escape from political and social turmoil of the present era. Some of the diverse types of modern art include expressionism, cubism, and surrealism. Some examples of contemporary artists are Andy Warhol, Georgia O’Keefe, and Pablo Picasso, to name a few. Contemporary art seems to be a form that people either like very much or despise very much. Quite possibly the most interesting thing about contemporary art is that it can be anything. Before contemporary art, there were very stringent rules about what could and could not be art. After the modern art era, was introduced there were no more boundaries.

Interestingly enough, impressionism is a form of contemporary art. Impressionist art was created to be an image of something as if the person had just seen it briefly. Impressionism came about in France, during the nineteenth century. Impressionist art characteristics include bright colors and scenes from outside. Impressionist art also usually features real-life images, but it does not focus on the details of painting. Impressionist era painters are made up of famous artists like Paul Cezanne, Claude Monet, and Pierre-Auguste Renoir.

The types of artwork listed above are only three of numerous different types of artwork. Original and contemporary art have only just become popular, where impressionist art has been almost always popular ever since it’s beginning in France. Anytime you are able to look at amazing art by visiting a museum, you should take advantage of the opportunity. Viewing different kinds of art offers the opportunity to think about the type of person you are. Creating art and viewing art {can be good methods when attempting to lose yourself in your thoughts.

Posted in: Inspiration | Comments(2) | July 2009

Easy Ways of Creating Artwork

So lets say you are like most people who want to decorate their home and have it look nice, but you don’t have the time and the money to go shopping at art auctions to bid on large abstract art or to buy oil paintings, but you still want to decorate your house and to do it in a personalized way that says you put more thought into it than just buying someone else’s work that you may or may not understand as a work of art. One thing you can do that will both make your home look pretty, your friends impressed, and leave you with a feeling of pride in the way your house looks and in your hard work is to create your own artwork for the inside of your home.

Don’t worry because there is a technical side to art that allows for it to be picked up by nearly anyone if they put the time and effort into it. Granted there is some level of ambiguity and mystery in each individual person’s creative process, but that is what will make your artwork so unique. The first thing you will want to do is to reach a decision on what you want your artwork to say, that is, do you want it to make a political statement, do you want it to symbolize a situation or an idea, do you want it to talk about some emotion, do you want it to tell a story, and in this you can decide if you want the painting to be about the process that you used to create the painting, or it could be about the finished product and the final effect the painting has on the viewer. Decide what medium you want to use and remember rthat there are connotations to each medium. Drawing will become an important asset no matter what media you are working with as it will allow you to sketch out your possible ideas for a project and to review various different ideas next to one another without making your head hurt too much from the effort, and when you draw, if you are trying for realism, then you will want to make sure to measure and compare ratios of the way things look as you see them so your subject is proportional.

Posted in: Artist Block | Comments(1) | July 2009

Turning Picture Framing In to a Piece of Artwork

Those gorgeous photos are practically consigned to oblivion when stored in picture albums and only seen when one wants to reminisce the good ol’ days. These pictures are treasures that should be proudly displayed with its splendor. A good way to protect them is with various Art Supplies or even Foam Board.

The art of getting a gorgeous photo continues up to the point where we flaunt our artwork. An exquisite picture frame should complement with the beauty and the artistry that the picture exudes. Thus, making an appropriate picture frame that will do justice to the picture is not just a craft but also an art. The making and use of art supplies to produce a masterpiece photo frame is a result of the meticulous work of an individual who loves to make an expression using artistic picture frames.

One can go to the store an purchase ready-made frames if you are lucky to find out that is exactly the way you want your picture frame to be. However, if you that the choices are not so attractive, then you might opt for custom made frames. Customized framing is the preferred technique as one is given flexibility of the getting the frame exactly as one wants it to be.
Customized framing follows specific work and detail and uses only high quality art supplies. The basic framing materials used include:

1. Tools for Mounting- These mount materials protects the picture from the shiny surfaces. Foam boards are used as mounting materials and are preferred because they are not heavy.

2. Integral Mat Boards – This is a major component of the picture frame. This art supplies are especially important if you are using some glazing materials in the masterpiece. Mat boards are either pre-cut or custom cut to the measurements needed. For art pieces, the custom cut mat boards are the ones usually used.

3. Frames – These art supplies can commonly be produced of a wide range of materials. In many stores, one can find wooden frames, metal or stainless steel, composite, crystal or ceramics. One can check out the websites to get an idea of the type of frames that are appropriate to the picture. Purchasing frames can be done conveniently by placing your order online. They can create a perfectly custom design exactly as you wanted it to be.

4. Material Used for Glazing – This materials are used in framing to protect the work of art. The process of glazing is usually completed with acrylics or standardized glass products. These acrylics afford UV protection for your photo while the standard glass provides you with the anti-scratch protection.

When you are planning to buy fine art pieces, it is imperative that you buy only the non-framed masterpieces. In doing so, you gain flexibility in deciding on the design and other concerns that you must address. You also do enhancement of the frame by replacing worn out parts and using other kinds of materials. Once you have a clear idea of what you want, you can easily determine the kinds of art supplies is required in making a frame considered as work of art.

Posted in: Artist Creativity Friends | Comments(0) | April 2009

Important Facts To Know Before Choosing Art Classes

Are you like me? I love to doodle and thought I was an artist but the mere thought of taking an art class left me woosie thinking I would be laughed at. Guess what, most artists start in the same way but need to refine their skills by learning techniques that can only be learned in the classroom.

If you are like me and are intimidated, start by looking for some abstract classes on composition and design. This will give you a basic understanding of the importance of color, balance, space and creative fundamentals. The instructor usually facilitates the class by using many demonstrations of useful techniques to help all students at all levels.

Although art classes can be fun don’t forget about things like stained glass workshops which many beginners love to start with. If you truly are uncertain of your skills as an artist you may even want to do graphic designs through software. This can be so useful since you can learn to make letterheads, business cards and brochures.

Find out through your community college or town what courses are all being offered. Check to see about the credentials of your instructor by asking other students about classes. Find out how long the instructor has been teaching.

The biggest priority is to have fun and to let your creative juices flow. Art is an emotional feeling that can only come with an instructor who makes classes fun to allow the students to open up and be creative.

Posted in: Artist Block | Comments(0) | January 2009

What Type Of Surfaces Do You Require For Landscape Painting?

As far as easels go whatever you might choose make sure that it is certainly sturdy. The folding ones are a superb choice to invest your money in. An easel is not really an essential item, but they can prove very useful if you need to move around. These you can take anywhere to suit your needs.

This enables you to head out to the countryside, town squares, gardens, parks, homes, etc., wherever you like. It gives you total freedom. In certain situations I have utilized an old school blackboard stand as a prop for my work. Even this is better than trying to work on a flat surface. Personally I was lucky enough to pick up a second-hand easel, however this is not the best sort that can be purchased in art suppliers now. As a contemporary artist I like an easel that does not wobble!

Possibly the best that can be got on the market today are the ones called “the radial”. These I think will hold a painting up to 52 inches or the equivalent in centimetres high. Most likely this is the best you can get for use in your home. One only requires to see one to note that they are equally strong and firm.

Even once you have an easel you will still need something at hand to put your working tools on. At one time I used to use an old tea trolley which was great, not only could you move it around to suit your needs, but I found that I could manage to get all my equipment on it. This saved time getting up and down for things. They are easy to pick up at car boot sales, local auctions, tip or antique shops.

A normal palette with a thumb hole is an absolute must have for your kit. Some people tend to use brown wood ones. To my mind I would always use the white trays, as with these they contrast your colours better. In fact, I find myself using glass and enamel plates or china saucers. A friend of mine, who is also a contemporary painter, simply uses plain glass with white paper below it.

Surfaces to paint on will be varied. Different types seem more suitable according to your various times and wants. Money does not really come in to it. Many people prepare and stretch their own canvasses. Generally you find it is better to have several canvasses at hand. Although really you can use hardboard, canvas, plywood or many other backings for your work. The point to be realised is, you need a different assortment of sizes and shapes.

If you normally only work on one painting at a time it does not matter, from my own experience I usually have about three on the go at any one time. It is very frustrating if you run out of surfaces to paint on when you are currently feeling creative.

This will hopefully give you an idea of what your needs are. Once you have these you have to add brushes, palette knives, turps and turps substitute, drying and linseed oils plus maybe some other mediums. A household brush also comes in handy together with the paints themselves and containers. Hope you will enjoy your creations.

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Posted in: Drawing Tips | Comments(0) | January 2009

Tranquility From Sketching Landscapes Throughout The Seasons

In this day and age where valuable free time is so hard to come by, where do we find relaxation, peace or solitude from the frantic life of today with all it’s trials and tribulations. People use their time in different ways but I am convinced that many opt for some sort of peace and tranquility.

As a contemporary artist that appreciates nature, I often head for the country to admire the gorgeous landscapes, mountains, trees, lakes, flowers, birds etc. The effect they have on me is relaxing. The rare beauty of this awakens my emotions. Often I capture these emotions on camera, so that the memory remains with me.

The colours in the country are inspiring - whether in winter or summer. I appreciate the starkness of winter when the trees are stripped empty, the first snows and of course the pattern that frost makes, whether on the window panes, cars,etc…. Possibly the colours are at their Sunday best in the autumn.

Wonderful too are the tumbling leaves and falling twigs as they seem to dance like an Autumn Concerto. The reds, browns, golden yellow and the leaves partly disintegrated are quite something together with the conkers falling at your feet.

I have spent an enjoyable time in County Kerry where the scenes are naturally rugged which is fascinating to the eye of a contemporary painter. If you head onward towards Dingle the natural movement of the waterfalls at Muckross Pass takes your breath away. The early morning mists too are something to behold.

Many things capture peoples emotions, personally I am quite happy to walk along a deserted beach at any season of the year. Observe the birds, watch the sun dappling on the water, or the flow of the tide as it comes in and goes out. Or see children playing, running in and out of the water, erecting sandcastles, or dogs roaming free off the leash. One thing is for sure, maybe one of the finest things to capture is the early morning sunrise or the evening sunset in all their glory. This is beauty at it’s finest.

Spring too, is an beautiful season when you see the first fragile buds appearing on trees, hedges and bushes. Snowdrops and gentle Celandiles working their way up through the ground.
Easter onward towards May brings the gorgeous array of nodding Bluebells which are abound in plenty of our local woods and forests mingling amongst the Buttercups and Ferns.

Then we are into the colourful surprise of summer. At this time the trees are ready to be adored. Flowers are in full bloom creating magical displays which lift our spirits. Hues and patches of tender tones which warm the soul, to very bright and passionate colours which knock our socks off.

Skylines too are amazing. The cloud formations are always enjoyable with their delicate and also very strong tints. Red skies are beautiful, relating to you that the next day is going to be golden.

Is it any surprise then people love painting Landscapes? You have all the inspiration you could possibly need. As you can see you are surrounded by subjects. Whether you capture them on camera first, or do them from memory. Pick up you pencil and seize the day!

This article was written by Anna Meenaghan of http://annameenaghanart.com

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Posted in: Drawing Tips | Comments(0) | January 2009

Which Kind Of Tools Do You Absolutely Have To Have For Painting?

Materials are important to the artist and like all things in life, it is better to obtain the best that you can possibly afford. Painting isn´t always an easy craft - so your tools are obviously important to you.

For example, if you choose mediocre materials the final result arrived at will probably reflect this.

If you go for quality it should certainly obtain improved results.

As a contemporary artist I can tell you that you need a firm support to paint on, together with a mixed selection of colours and certainly high quality brushes. Brushes are important! You need one that is both clean, a naturally good shape, but that is also flexible. With a good brush you can draw freely and not just make a certain size brushmarks.

If you use short, bristled brushes they do not appear to give a particularly good finish.

If, for example, you want to draw a persons head you ought to have an amount of flexibility and a precise touch. To arrive at this you need to be drawing with the paint continually and in small accurate strokes.

As brushes go I find that it is good to have a few sables that are pointed, as well as a few hog hair brushes. If you use a flat brush you can get delicacy by lying it on its side.

If you want to draw well and put down patches of colour, you need brushes that have fairly long hair, filbert, round or flat, so they are flexible.

When you purchase good quality brushes then they should stay in shape well, but it is a must that they are washed at the end of each painting session. It is pretty obvious they will not be good for long unless you treat them well.

What will help you? Well, being a contemporary artist, I often keep an old jam jar filled with turps substitute at my side. This you can use for cleaning out the brushes whilst you are painting and of course when you finish your work for the day. It is recommended that you should clean them thoroughly in this, preferably dry them on an old piece of rag and then finally it is usual to give them a wash with some soap and water.

It is useful to hold the soap in one hand and rub the brushes across it, then clean them gently in your hand with your fingers. The second step is to rinse in water and then start to reshape the bristles with your fingers.

This sounds a lot to do, but usually should never take long to do, but it is important.

Sometimes if you are tired you may forget to do this and then find you will be mad with yourself the following day.

Actually most people seem to collect quite a varied collection of brushes but end up using only six or seven at a time. As with everything else you have your favourites and really you do not necessarily have to acquire a large stock. You find that you still use your very old ones. These are very good on wide areas of painting as they are well worn and this saves on your newer brushes as it tends to wear them down.

This article was written by Anna Meenaghan of http://annameenaghanart.com

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Posted in: Drawing Tips | Comments(0) | January 2009

Guidelines For Pencil Portrait Sketching - The Tilted Skull Pose

To craft interesting fluid portraits that exude life you must understand the effect of the spine on the skull and shoulders.

To generate a relaxed feeling in your portraits quite often you will need to render the skull slanted. Most people when they are at ease will view with their skull slightly slanted. In this article we will point out what to look for and how to tackle the slanted skull.

In the slanted skull view the subject will show a clear change of bearing from the action of the torso to the slant of the skull. Also take note of where the shoulders are. The subject’s shoulders will almost be aligned with the base of the nose.

With this information in mind, the first step is to measure the angle of the skull’s slant (from the base of the chin to the top of the skull) before drawing the arabesque. To do this hold your pencil (or a knitting needle) at arm’s length, looking through one eye, and adjust the angle of the held pencil so that it corresponds to the angle of the slant. Keeping your arm straight and locked you can now transpose this angle onto the sketch.

Now that the angle of the slant is found you can strike the arabesque and verify the height/width proportion.

The axis of the features is perpendicular to the tilted facial angle. A common trend while sketching is to straighten out the features so that they are horizontal to the paper. Be aware of this and ever on-guard because this trend is delicate and is constantly trying to sneak into the sketch.

It is not a recommended practice to locate all of the features at this point. It is actually more accurate to first fix the brow line and the base of the nose and work from there.

When the skull is tilted you should also be aware of the effect that gravity has on the face. The flesh, in particular on the underside of the jaw, will be somewhat pulled down. This effect is quite delicate but for those of you who are advanced portraitists you should capture this in your initial arabesque. If you are a beginner just file this information away for future reference.

Take note, also, of the neck. The critical visible neck muscle is stretched out. Its companion is shortened. This opposing muscle action is referred to as abduction/adduction. This action of the neck always renders a striking effect.

Once the arabesque is located and you are satisfied with its accuracy relative to size and form you can render the features and block-in the key big darks and lights. Keep the value simple. The more complicated the lighting arrangement, the more this applies.

The value arrangements are worked further, but are still a bit crude and unresolved. The key concern is the overall light effect.

There are a few items to keep in mind as you prepare to finish the sketch:

1. Ask yourself how far you should carry the sketch. You can get a real nice effect if you give the shoulders and upper torso an unresolved quality. Remember, sketches are not meant to resemble photographs.

2. As you gain a better understanding of the facial structure the trend exists to render what you know rather than what is actually there. So make sure you always pause to observe the life model or the subject in the photograph.

In closing, the tilted skull view is special in that the features will be centered on a tilted axis and that the stress in the shoulders will be different from one side to the other. Also the changeover from the torso and shoulders to the skull should be carefully observed.

Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing course here: portrait drawing course.

Remi Engels is a pencil portrait artist and oil painter and skilled drawing teacher. See his work at graphite pencil portraits by Remi.

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Posted in: Drawing Tips | Comments(0) | January 2009

Guidelines For Pencil Portrait Rendering - Rendering A Chin Supporting Hand Including Shoulders

Including a hand in your portraits adds a important measure of drama but can quickly ruin an otherwise fine portrait if done incorrectly.

The goal is to incorporate the hand so that it is not only proportionally and gestural accurate, but is congruous in personality with the expression of the face.

For example, a pleasant facial expression juxtaposed with a clenched fist may not yield the effect you desire unless you intend to add an ironic twist to your portrait. On the other hand, a hand supporting the head fits very well with a stern scowling expression.

First, absolute novices should not be trying to draw both the hand and portrait together. Things will quickly get muddled. The lesson for the absolute novice here is to get an understanding of the importance of acquiring a solid foundation of your craft.

In a view where a hand supports the head there is a subtle forward tilt because the model is slightly hunched and leaning forward. For the artist, this situation translates into the presence of a subtly foreshortened and reclined portrait. In the hand/head case this means that the chin is somewhat receding relative to the forehead.

As always, you should start with the all encompassing arabesque, which in this case, includes the hand and the shoulder. If you first draw the head and then attach the hand to it you are definitely asking for problems. The hand and the head will lack cohesion and will give the awkward impression that they are two distinct objects that are coincidentally next to each other.

When sketching the complete arabesque be aware of the negative as well as the positive spaces. In addition, do not pre-measure any aspects of the complete arabesque. It should be sketched with as much flair as possible without losing your sense of proportion. Strike first then verify.

Further build upon the complete arabesque by establishing the face, hand, and shoulder landmark
s and sizes. The internal architecture of the complete arabesque is initiated by blocking-in the primarydarks and painting out the lights with a kneaded eraser.

What you are doing is to set the stage for rendering the facial features, the hand, and the shoulder. The hand must be positioned and sized in accordance with the head and the facial features. The compression of the jaw into the palm must also be reckoned with.

Employing a sharp pencil you can now further develop the tone and shape with cross-hatching, stumping down, and erasing. In this, you will be going back and forth hoping that you know when to quit. Sketching is about making decisions, i.e., knowing what to build up and, just as essential, knowing what to leave out.

In the hand/head case you have to be particularly careful how far you develop the hand. The hand should be seen as an extra element, that is, a supporting element that should not be part of the focus. Do not feel compelled to refine every element in your sketch. Everything in rendering is about equilibrium and communicating your meaning directly to the viewer’s eye.

In conclusion, it is critical to see the hand and the shoulder as parts of one whole. Starting your sketch with drawing the complete arabesque will help you greatly with maintaining this cohesion. Treat the hand and shoulder as supporting elements that surround the face. This means that you should draw them in a subordinate role.

Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing course here: pencil portrait course.

Remi Engels is a pencil portrait artist and oil painter and practiced sketching teacher. See his work at pencil portraits by Remi.

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Posted in: Drawing Tips | Comments(0) | January 2009

Study Useful Painting Tips - Is Art Something To Be Loved?

Art presents itself in a variety of shapes and forms today – to me it is always interesting and gratifying to appreciate other peoples art. You don´t necessarily have to enjoy it personally to accept the hard work that has gone into it and the thought behind it.

As a contemporary artists myself – I find it gives you freedom to express your inner workings.

If I had a bad day it most likely reflects in my paintings appearing more dramatic. On the other hand I also find it calming to paint seasoned skies.

Art is a very personal thing, what appeals to one person, others despise - the appeal is in the eye of the beholder. As a contemporary painter I find that these days there so many things classified as art which makes it more satisfying. As an instance take spray painting, some people do this but also use stencils. Myself I often really admire some of the spray gun graffiti scene. Very smart youngsters do some amazing creations. Although many people would view this as vandalism.

Just look at pavement artists sketching out their pictures in chalk. This surely is a talent, but one that many passers by can enjoy but yields the artist very little money. Many of us have been to Paris and the “Montmartre” area where the artists set their easels on the pavements doing quick caricatures much to everyone’s amazement and amusement.

More unusual maybe are sand sculptures which feature in the Canary Islands and I am sure other places. They range from biblical scenes to dragons with real fire breathing out of there nostrils.

Mosaics too are most interesting and colourful as these designs can be used on plant pots, walls, gardens etc. and in oh so many ways.

Posters - somebody has to design them so they are thought provoking and catch the eye.

This is a great challenge for children too, who are encouraged to do posters for any number of things from road safety to recycling the environment. I love to see what sense can be made of driftwood collected along the beach. I imagine a special type of person is needed to do this with a very good imagination and creativity.

On this theme also fantastic paper weights can be made from nice pebbles once they are cleaned, painted and varnished. It is also fun searching for the pebbles in different shapes and feeling how smooth they are when you run your fingers over them.

Designing and making your own cards not only brings enjoyment to many, but also brings individuality to the recipient.

Papermache is another form of art I have never tried, but I really like the results that people manage to achieve. Decoupage in this day and age seems to be greatly popular, along with scrapbooking, felting, patch working and needlepoint.

There are so many forms of art there surely ought to be something to suit everyone. Help is at hand as there are many workshops running in many crafts stores as well as local schools. Art brings happiness to many people, creating it or enjoying the art of others – it also relaxes you and can make you a host of new friends, so enjoy !…

This article was written by Anna Meenaghan of http://annameenaghanart.com

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Posted in: Artist Block | Comments(1) | January 2009

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