Black and white keys, saxophone, guitar, everywhere. The music has much more magnificence than can be tried to be explained through words…
Black and white keys, saxophone, guitar, everywhere. The music has much more magnificence than can be tried to be explained through words. This jazzy rendezvous has always been André’s favourite ear-food. He just loves the way its beauty, splendour, radiance is ‘unleashed’. André stares at the canvas for over a dozen times. Here he is staring at the blank space which is future marvel…or was it to be past marvel? Had he missed his chance, missed the boat which would have sailed to sentimental stardom? He refuses to collaborate more than a sentence for any one idea. Any idea that deserves a sentence must deserve no doubt. Any canvas is only worth the greatest ideas. Two André’s exist; though only one at any one time. The withdrawn analytical front, designed for most occasions. On rare occasions the other character may appear, the intensive, massively determined André who acts on impulses. Impulsive André must be begged out. A Pandora’s Box of surprises, his job will at least never cease to astonish. “Dearest André, Through years have you befriended my son Louis, so therefore I am offering an opportunity to benefit both of our interests (with intent towards your gain). Litton inc., my company has stepped up towards mainstream success. We require visual arts for our newly bought edifice. I understand you have been painting for the eight years since high school. To your discretion I would like to require a painting; just one will suffice. I would like something vibrant and colourful, yet deep and meaningful; Contemporise to your own vision. Much thanks, Dr. Raymond Fonck.” The commissioned paper lies stuck on the wall. André has read it. Now it is time for the future. It has been too long sitting around (or rather bouncing around); too get too much productivity from anything. Someone once said to him that anything is good experience. True perhaps, although he prefers productivity, especially in a time of intensity such as this; three days left until confrontation. His vigilant eyes stroll around the room, searching for advice. He is not bored, nor has he painters block, for such a term does not exist and will not ever for him. His eyes strike the clock. The clock glares 5:48 pm back. What a disgusting fierce look it has. Not 5:45, nor 6:00 and only one uncomfortable minute in-between. For at this time these uncomforting three digits add to the frustration in the actual time. “Aw!” André suddenly realizes the importance of the time. It is the one factor which never seems to be on his side but actually encourages his total progress. It is an epiphany like that of a mother to the newborn. André decides to let his hands take / control. They are the secret key, (sometimes the gatekeepers of unleashing impulsive André) His dominant left one picks up the brush (over time it has made up for its fault of statistically losing him seven years). His right hand decides to lose cognition. It dips itself into a little puddle of Sangria oil paint muck. Than it flies onto the near-centre of the canvas, smeared diagonally. His left hand takes initiative once again, waving lines of smudge to and fro. Right hand brings more paint to its destination. Myrtle, Indigo, Olive, Magnolia…and no, not that…Yes, yes, even black! (Well seal brown to be precise). All of these contextually beautiful colours unleashed! There are no thoughts in André’s mind now. This is impulsive André now; organised thought is of little importance! That colour is important here. This colour is unimportant there. A few lines of any colour are important right here or there, but perhaps a darker colour is better. More negative space up and down the edges. Shape is forming. Lines are bolding. Complete non-representational form is diminishing. Visualizations; the visualized images in mind are being…unloaded bit by bit. It is coming about. What is it though? No one knows. If anybody could guess it definitely would not be André. André knows he has the power to bring out the reality in it though. In a seemingly paradox situation he must not connect to reality at the moment though. Now, after these hours of painting, André is in the painting. He would not know it has been hours besides the constant glare of the illuminating digital clock staring from across the room; it unconsciously processes its recognition into André. The phone screams out, ‘br-ring, br-ring!’ Like the other external matter it creeps into André, until finally its screams become too annoying to ignore. It’s too late now…impulsive André has vanished; his conventional counterpart has replaced him. The phone persists though. André decides to take it (typical for his returned mannerism). He dives across the room horizontally attacking the corner where that nuisance phone lies. ‘Aw, aw, aw, aw!’ A tube of paint has squirt from underneath his stomach. Agonising that his material friend can be so painful at times (like any of his life long friends). He picks up the phone; only the tone. He has missed whatever, whoever it was. Once again, missing the boat… Now thought and all that comes with it has returned. Why now out of all times possible? There is only sadness, misery, all this escalated from these small miniscule misfortunes; all has turned to turmoil! What can one do, when feeling like crawling into a hole? His secret minor disorders such as his claustrophobia would prevent him from crawling into that hole, even if he had one. At the moment everything feels like one big hole. Not surprisingly André’s eyes begin doing the only thing they know to do in times of unrest; wander. It is impossible to ignore what is there; it has been there all along, yet has never been seen. It is beautiful! It is splendour! It is radiance!! It is interrupted by another scream of ‘br-ring br-ring’. André picks up the damn phone. Without contemplation he whispers, “Sir, madam, I’m very terribly busy, could you perhaps call back sometime?” A deep sophisticated voice replies, “Raymond Fonck, André. Listen, I need to know about the progress of the painting. How is it going; ready to sell on Friday?” Many emotions garner at the speed of light inside André allows these emotions to clash inside of him. The painting; it is beautiful, splendour, radiance! How could he give it away now, after an indescribable series of emotional contributions? It is something that has not been attempted before; yet it is new but the expression of old. It is everything, at the moment, hopefully containing more interpretive inoculations for the future. It is a subject, of just some time, yet it contains a collaboration of detail separated from time. It is…once again interrupted by screams, this time of another sort; the infuriating talking of man. “André. Are you there?” Feelings of great rebellion sweep André off his feet. He knows how he will revolutionize his life, because after all; this painting has revolutionized his thought already. “Mister Fonck. I am so sorry. Some things have come over me…a type of sickness…although I am sure you are not aware of this mad syndrome I am suffering due to it. Well to the point, I must say I will not be supplying you with your wanted artwork. Thank you for your understanding. Hopefully we can collaborate something in future.” André hangs the phone up without replies, without a stated understanding from the mister Fonck. Without even the knowledge of acceptance or approval from the mister Fonck…it does not matter. All that matters is this new painting, this contemporised vision. It is everything. Most importantly of all, it is…unleashed!
If you’re an artist or designer looking for some free hi res textures to use in you work, I am now giving away my personal textures for o…
If you’re an artist or designer looking for some free hi res textures to use in you work, I am now giving away my personal textures for others to use in their work. These textures are completely free and can be used for commercial and non-commercial work. / If you could help spread the word about these free textures, I would be very grateful. / I’m also giving away free copies of my book to certain people who are of particular help in promoting these textures & my website. / Textures are available from: / http://www.ParableVisions.com Enjoy, - Cameron Gray
I was looking around other sites and I came across several redbubble images, mine included. I have not figured out the site yet but it lo…
I was looking around other sites and I came across several redbubble images, mine included. I have not figured out the site yet but it looks like a place to play around with images and in some cases using the images to advertise the product they are selling, I think that is against the law…....not sure.The people using the images have a redbubble link with our username attached but I think it serves as more traffic to steal images…..not to increase chances of sales.I have contacted the company and told them that this is not a stock photograph company but the individuals are held responsible for the images they acquire. I copied some of the images they made with our images and I got a pretty decent result. If you go to polyvore and “TRY” the site, go to the search engine and type redbubble, you will find 7 pages of our images.There is no watermark on them,so they must have cropped them off.I wish there was a way to have a huge watermark displayed across the images only when someone tries to copy or print them. If you go for a visit, let me know what you think. Thank you, / Lisa / EDIT ….........This happened in 10/07 and was resolved :)
Hi anybody having problems with T/Shirt designing…. / I use software called Paint.net and find it so simple / any one wanting details jus…
Hi anybody having problems with T/Shirt designing…. / I use software called Paint.net and find it so simple / any one wanting details just send bubblemail and I will answer straight away as I spend most of the day at Computer Hey just thought that I would sit and write out my way of doing it useing Paint.net / Here goes….. / First open paint.net then get new.click on image,resize :- and clear maintain aspect / and clear set absolute size, then set to 3200 pixels high and 2400 pixels wide then set resolution to 200 this sets the size to 12×16 inches. / save this as T/Shirt template.png / Open this and carry on as follows / to load a picture go to layer and click add image this will open up the place that you have your pictures stored, open picture that you want and it will appear in the top left corner,click on move pixels and you can then resize the picture and move it to where you want it to appear on the T/Shirt.having done that go to edit and invert selection / then edit and erase selection,you will now have your picture where you want it, / for further editing you can remove parts of the picture by using the eraser . / You can also add text if you want to. / I hope that this helps /
Okay let me start of by saying, like most painters I’m not much of a photographer. I don’t have a studio set up with a SLR Camera, lighti…
Okay let me start of by saying, like most painters I’m not much of a photographer. I don’t have a studio set up with a SLR Camera, lighting lamps and tripods set up to take images of my work but then I’m guessing many of you will be in the same situation. / I am just going to give you some hints on how to present your work in the best possible light to load up onto redbubble. 1. Take your photos outside in natural light. Indoor lighting can colour your work a dull yellow colour. / / 2. If your work reflects light, ie oil paintings, varnished work and even some graphite work, then it is much better to photograph your work in open shade. This stops that annoying shiny effect you can sometimes get, and never, ever use a flash. If your work is behind glass it is very hard to photograph, so the big hint is document it before you frame it. / / 3. Try your very utmost to line up work work so that it is as parallel to the camera. This will stop the distortion you can sometimes get on your work. Easiest way I guess it to stand it up 90 degrees against a wall and hold or stand your camera as straight on as possible. / / 4. You want your painting to occupy as much of the viewing space as possible but don’t get to close to your image, this also distorts the image. You are much better of standing back from the image and zooming in. The bigger the painting on your image the greater the resolution you will get at the end. / / These are the four basic hints for taking pictures yourself. Much can also be done after your image is taken. I have photoshop but many other programs can carry out the simple steps I will outline here. Remember we want to represent our paintings as close as possible to the real thing so don’t get carried anyway with post production. 1. Firstly change your image resolution to 300 pixels/inch this is the best resolution to work with (or at least this is what I was taught). / / 2. Make sure your image has the correct rotation, slight misalignments usually can be fixed with cropping. Hopefully your work is free of distortions. There is a way of correcting for this but it is much better to spend time when photographing to get this right. / / 3. Crop the image down so unwanted background is gone. If somebody wants to buy a print of your work I’m sure they wont appreciate half of your wall as well. / / 4. Lastly you can adjust the levels so the image is as close to the real thing as possible. Hopefully this will help some of you out. If anybody wants more information on how to change image size, rotation, cropping and levels I can give some advice on how to do this in photoshop only. If there is a demand I will do it. I also have notes on how to copy indoors but it requires a lot more equipment. Anyway let me know if you would like this also.
My favourite film is one by Stephen Poliakoff’ called ‘Shooting the Past’. There is this line that sticks with me almost everytime i lo…
My favourite film is one by Stephen Poliakoff’ called ‘Shooting the Past’. There is this line that sticks with me almost everytime i look at a photograph, either my own or someone elses. It goes along the lines of: / ’ I just have to say one thing to make this picture electrifying, these people are about to be hit by the most terrible change, their whole worlds turned upside down …. they have no idea, uncertainty beyond their wildest dreams.’ And i suppose this is the power of photography, the smile frozen in that split second of time, with no knowledge of what the future may hold. This quote has special meaning to me also because i not only go ‘click’ with my camera, but i even find my brain going ‘click’ – i am constantlly framing life. An example of this was several months ago my sister had her first child, a little boy called Oscar – such an amazing day – then on the Sunday, they were supposed be coming home and i can remember ‘click’ i am in the dining room, ‘click’ the phone goes and i walk into the living room to answer it …. ‘click’ my mum is sobbing because he is being rushed to the heart unit for an emergency operation. Every moment for me was mentally frozen in time – and when i look at photographs of Oscar on the day he was born that quote comes flooding back to me. On a positive note, Oscar is now 8 months old – he had another operation a couple of months ago and is thriving. But to sum up, I suppose i just wanted to say that photography is almost like oxygen to me – i need it – i need to record all those around me that i love and tell the story of their lives. I would love to know why you love photogaphy, or painting or writing or anything creative. Love Debxxx
Ok, so here’s the thing. I’ve been competing at a site called Digital Image Cafe for about…
Ok, so here’s the thing. I’ve been competing at a site called Digital Image Cafe for about 15 months now, and in the course of that time I’ve won a few prizes. I’ve got two boxes here with PC versions of Corel Paint Shop Pro PHOTO XI ....and can’t actually spare the space or ram on my computer to run it. Plus, my husband has this bad habit of throwing things out that are sitting around gathering dust….lucky I’m still here, actually! I’d hate for them to be wasted. Here’s what I propose: If anyone here wants to have one of these, I’ll give them both away…..post a photo here to prove how much you need it…..I’ll ask some of my friends to help me judge. The photos have to be loaded into Redbubble and for sale. To link it to here, go to the photo you want to share, right click on it, then go to properties. Drag your mouse over the url where it says Location, and make sure you get it all, including the ending extension, in most cases jpg, then add an exclamation mark at the start and the end ! / Paste that into the comment, and you should see your photo. Competition will end on Feb 29, 7pm Eastern STANDARD time – AUS, (not daylight saving time) and I’ll post them anywhere in the world, surface mail….no correspondence will be entered into, so don’t bmail me about this, put all your questions and photos here, please. I’m looking for creativity, but you also need to show that you don’t have a decent editing program….which is why you need this one. Feel free to tell all your friends
Because of my Nostalgia series I received a few inquiries about …
Because of my Nostalgia series I received a few inquiries about the “Painted with light” technique. About what it is and how it works. So, I decided to write a small article about it. This way, everybody who is interest in it can read it. I will not claim to be an expert in this technique, nor will I pretend that it’s something I discovered myself. It’s an old technique in the experimental photography. Rather then writing a complete tutorial on the technique I’ll try to reconstruct the path that lead me to where I’m today in the wonderful world of “painting with light”. At the end I’ll describe my own application of this lighting method in still life photography. First things first. Like many of you I’d never heard of “Painting with light” until I bumped into the work of Emil Schildt. Emil is an experimental photographer who’s experiments go in many directions. I’d like to try more of the things he has done, but, at the moment I’m still in the painting with light phase. Although Emil’s subjects are completely different from my own (his are nude models mostly), he was a huge inspiration for me. So, before you continue, check out his work in the painted with light category. (While you’re at it, check out the rest too, it’s worth a peek!). You will see that it really has a painterly feeling. Naturally, in Emil’s case, this feeling is enhanced by his other techniques, such as his special printing methods and so on. It’s this feeling that I was after in my lighting. What really got me experimenting was Emil’s description of his used techniques. Here is his painting with light tutorial. Based on this tutorial I started to experiment. In those days I was still shooting analogue and I quickly stopped again. The reason was simple. I had little spare time for my hobbies and practicing a new technique on film, having do develop them and mostly just see that it didn’t work out, having to start over again… Let’s just say it was discouraging and I wished I had a Polaroid camera. There was something better then Polaroid though: digital. When I bought my first digital camera I pick up my experiments again. The camera wasn’t really suited for it: long exposures resulted in more noise and enough dead pixels to fill up the sky with stars. But those problems where nothing Photoshop couldn’t handle and now I could experiment freely, see the results instantly and adjust my technique according to what I saw. I don’t know if it’s because the subjects are different, or because I’m jut not Emil, but I started to disagree on a number of things in his tutorial. I started to develop my own technique, or better said, my own work flow. Thinking of it that way, which is totally different from what I was thinking when I started writing this, I’ll end up writing my own tutorial anyway as I now see the differences with Emil’s tutorial that I had already forgotten. My work flow: / - Where emil advices to use a light bubble with a reflector, I advice to go for a flashlight. I suited my purposes better. Of course I’m working on a totally different scale. If you’re a model photographer I think you will have to stick to Emil’s advice. But if your subjects are smaller, like my still lifes, well, I preferred a shielded light source which produces a beam which is easier to aim with an to concentrate on one part of the image. - I don’t think I need to say this, but to be complete: you will need a tripod. - My first active step is simple yet takes up most of my time. It’s setting everything up. I start with a quick arrangement of my subjects on a table or whatever I’m using. I’m not carefully composing yet. Just putting the items in more or less the position I want to have them. This will usually changes ten times or more, but that’s not that important now. Right now, I’m looking for the angle mostly, for how to set-up the camera on the tripod. - Once the camera is up on the tripod I start to very carefully arrange my items and to really build up the composition. Of course, while doing this, the change is big that angle and crop are slightly adjusted again. All of this has little to do with the technique we are discussing, so let’s move on. - If this is the first time you are using this technique with this combination of tools (camera and light source) you will have to set up a balance between your camera and what you want to achieve. Now I’m mostly talking about the settings and amongst those most of all about white balance. Of course if you should raw you have the ability to edit the white balance later on and then it’s not so important. I wanted a very warm feeling so I leave my white balance to auto which results in a warm, reddish glow from my flashlight. It’s that combination, light source and white balance, that will dictate the colors and general mood. If you change your light or camera, you will have to search for the right settings again so try to stick to the same equipment as much as possible. When I bought my new camera and specially when I started to shoot in raw I totally lost direction and it took me a while to get the results I wanted again. On the other hand, once you used the same combination for a while, getting the results you want will go a lot smoother as you can know what to expect. - According to the size of the subject, the distance to it and so on, you will have to decide on a diafragm setting and a shutter speed. For the ISO value I would stick to the lowest one your camera has to reduce noise to an absolute minimum. The big advantage of digital is that you can do a few trial runs to see if you set up your aperture and shutter speed correctly. If not, don’t change your aperture ! You need that to pick the DOF. The big difference here is that Emil’s shooting models that have to sit still, so you want the fastest shutter speed possible. But my still lifes aren’t going anywhere, so I adjust the shutterspeed and keep the DOF where I want it. - Now, to make the actual picture, or to do your trial runs, I said the camera on “timer”. I make the room pitch dark, which is very important as you don’t want any light source then your own interfere with your image. I use my flashlight to find the camera again, push the shutter, and wait for the timer. - It’s here that the fun starts. Trust me, you will need a whole bunch of trials before getting it right. Work out a “path” for your light source to follow. Try to get the lightning right in one smooth motion. You can also hesitate with the light source on certain points of your composition to highlight them. You can move slowly or very fast to achieve different effects. Just be creative! Remember one rule of thumb though: keep moving the light or it will burn a spot into your image. If you want to highlight something, for example, make a slow circular motion to get a soft edge. Of course, it’s totally possible that you want that burned in spot, like I said: be creative. Just think of it this way: / your flashlight is your brush, light is your paint. - Repeat this, over and over again, until you get what you want, until you have your path worked out, the way the strokes of light have to be applied just right. - You are shooting digital, don’t be afraid of Photoshop or similar programs. Photoshop is your friend, even more accurate, Photoshop is your darkroom. Not all digital cameras give good results on longer, darker exposures like I already mentioned. So it’s possible that you will need a lot of Photoshop work to correct noise and dead pixels but I use it for a little more then just that. - At this point, I have several images which I like, but you will see this happening too: picture 1 has the light just right on item 1, picture 2’s background is far better lit and picture 3 has a spot of light on this tiny detail that non of your other picks have. I’m just giving an example here. I think you can guess my next step, right? I’m going to melt those 3 images into one where I have the light exactly the way I want it, everywhere. I’ll do this using masks mostly. Hiding bits from one image, showing bits from another, until everything is just right. I already mentioned the noise work (no longer necessary for me with my K10D) and the removal of dead pixels and do some other small adjustments like a little dodging, burning, small color corrections etc. Just like I would do in my darkroom in the ol’days. That’s it! That’s all there is to it. By now you should have one beautiful painted with light image. By way of inspiration, I hope, I’ll show you one of mine again. If you want more, check out my Nostalgia series update: this tutorial continues here Now available as a calendar /
I just wanted to share some really cool brush resources for those of you interested in adding some plugins to your Photoshop software. I…
I just wanted to share some really cool brush resources for those of you interested in adding some plugins to your Photoshop software. I have used some of them and they rock! All are freeware and some cite that you must give a link back to them in order to use them. The following is a comprehensive list of ALL of the websites where I have downloaded brushes from. Any of my pieces that feature a brush from one of these sets will be linked back to this journal for proper crediting. Brush gurus: 50ml Brushes Seishido Pixel Chick Damned in Black Dubtastic Juuichi Aquired-taste Photoshopsupport.com’s Brush Page I hope you all find these as useful as I have! If you need help installing these, check out my Photoshop Tip #1: Where to get brushes? journal entry. These are my pieces which use any of the above dingbats/fonts (will add as I create more):
Okay, so you’ve seen some amazing work online and wondered where the artist got all those astounding background effects or how they did t…
Okay, so you’ve seen some amazing work online and wondered where the artist got all those astounding background effects or how they did that cool layered effect. Well, as surprising as it may sound, some of those effects were done using a very common Photoshop preset: Brushes. You may be asking yourself, don’t I already have brushes installed with my Photoshop CS3 (or CS2) software? Well, yes, you do. But those are the basics. There are a ton of awesome people out there in internet land who are making additional brushes (and other plugins) for you to use with your software. These plugins are very easy to download and install. I will try to give you a short rundown of what to expect when installing these brushes. For more information as to how to use them or for more detailed installation information or installation for a MAC OS, please consult the very wonderful Photoshopsupport.com, a very neat index of everything Photoshop! (Please note: The following instructions are very, very simplistic because I wanted even the novice Photoshop user to be able to use these tools. I know there are a bunch of different ways to do these things (even some that are easier), but I wanted to put it in basic terms without all the fancy language and extra steps because I remember how it was when I first started teaching myself to use the Adobe programs. Plus, this is not intended to be a full fledged tutorial.) The first step is to download some really cool brushes from an online provider. Some brush sets you will have to pay for, others are free with some restrictions, and others are completely free. Make sure you read the website’s policy before you use them. You can view my Photoshop CS3 (and CS2) Brushes journal entry to visit the websites where I have downloaded most of my brushes from. Most of them have free areas or are completely free and all you have to do is link back to them. Once you have chosen the brush set to download, simply download it to your computer. Because the files are normally saved in a Zip file, I start off by downloading the file to my Desktop first and then moving them over after (this is to avoid confusion). However, if you feel comfortable unzipping them right into the proper file, then by all means go-ahead-with-your-bad-self! After you have downloaded the Zip file to your Desktop, you will need a program (such as WinRAR, which is what I use) to unzip the file. At this point, you may be asking where you unzip the file to? Well, inside the Zip file may be a read me (.txt) file and other junk (which may be of interest to you) and there should also be a brush (.abr) file, which is the one you want to unzip. You can unzip the brush file onto your Desktop and then move it over manually, or you can unzip it to the Photoshop directory itself. Regardless of which method yo use, your ultimate goal is to get that .abr brush file into a specific folder in your Photoshop program’s file. For brushes, the file you will want to place your .abr brush files into is the “Brush” file within the “Presets” file. So, how do you get there? Open your My Computer and find the drive which has the folder “Program FIles”. Now, open “Program Files” and then find the folder labeled “Adobe”. Next, open the “Adobe” folder and you will see ALL of the Adobe programs, which are installed on your system. Locate the “Adobe Photoshop CS3” (or CS2) folder and open it. Find the “Presets” folder and open it. Finally, you will see a folder called “Brushes”. Open it. You can now see ALL of the brushes that are installed to use with your Photoshop program. This “Brushes” folder is where you want to place all of your downloaded .abr brush files. So, the quick breakdown to find the “Brushes” folder is: Program Files >>> Adobe >>> Adobe Photoshop CS3 (or CS2) >>> Presets >>> Brushes Once you have unzipped the files or drag-and-dropped them into this file folder, you can close the folders. You will also need to re-start your Photoshop program in order for the brushes to be finalized and installed and ready for use (sometimes, you have to re-start your computer as well). After you have re-booted your software, open a blank file and click on the “Brush Tool” or simply press its keyboard shortcut ( B ) to activate it. Now, right click anywhere on the page and your brush palette should appear (this is where you control the brush size/hardness, etc.) and in the upper right hand corner you should see a little black triangle with a circle around it. Click on that little triangle/circle icon and…. whaaaaa-la! Your newly installed brushes are there just waiting for you to experiment with them! All you have to do is click on a preset and it will ask you if you would like to load those brushes. Click “Ok” and they will appear in your brush palette waiting to be used and abused! So, go have fun with your new brushes and get creative! The last step, of course, is to add your comments below! Add your brush tips (pun intended) below so that we can all learn from each other! Cheers!
Hien is one of those wedding photographers you tell all your engaged friends about. I know that o…
Hien is one of those wedding photographers you tell all your engaged friends about. I know that one day when someone makes an honest woman out of me, I’ll be a-knocking at his door. So you can imagine how thrilled I was when he invited me to come along to a ‘Trash the Dress’ shoot and spread my creative vibes and help with art direction. And like I could pass up the chance to watch a couple of lovely normal individual’s run amok with paint and scissors? It all started off fairly normal and wedding like… Then we had a change of scenery… There was some pleading… But it was futile. The idea of getting covered in paint and ripping apart a perfectly good wedding dress was just too delicious to pass up :) Twas a big bunch of fun Hien. Thanks for inviting me along for the ride.
Digital Painting Tutorial Tools: / • A Camera (pictures need to be digitalized if your using film). / • Photo Shop (or similar program -...
Digital Painting Tutorial Tools: / • A Camera (pictures need to be digitalized if your using film). / • Photo Shop (or similar program – with layers) I use Photoshop CS2. / • A Computer / • (Optional is a tablet input pad – Nice but not necessary) You’ll need some knowledge of your Photoshop tools (or a reference source) or the program you use that replaces it. If you don’t have this just get a good book. Tom Ing has a fabulous book (Photoshop CS2 for Photographers), and I’m sure there are plenty of other ones. Creating “Maiden of the Moon” Step 1: Go take some photographs of people, things objects, atmospheric conditions etc. these are your sketches.. if you want to translate this to traditional painting terminology. Step 2: Select the elements you want in your picture (Oh I forgot one important element: turn off the TV and turn on your stereo or MP3 player, I choose a nice mellow Van Morrison album.. Believe me mellow music helps with the creative side!) Ok now back to the picture.. / In this instance it started with a picture I took of my friends daughter many years ago when we at a balloon festival. Her hair was blowing in the wind, and his bald head was in front of her face. But her look was what I wanted.. that stare into oblivion. The wild hair blowing in the wind (perfect)… Now the creative side kicks in. Ok what can I do with this picture. First attempt, was to abstract it some by running it through a watercolor filter in PS. Next was to adjust the saturation colors in the filtered print using Image->Adjustments-> Hue and Saturation. I used it like this for a while, it was OK as a digital watercolor. I call this enhanced photography. Why? Because basically it was a photograph that I enhanced with my photo program. Step 3: Next I find another element that would merge with the picture. In this instance it was a shot of the Moon I took this the other night when the moon was full and glowing thru my bedroom window (mind you this image was taken at 2 am, thru a window screen, with a hand held camera with a zoom lens on it. Moon not bad, if I do say so myself.. no it wasn’t perfect, but no problem, PS to the rescue.. You see the edge was not crisp… So first, I used the Circle selection tool. Select the moon in a perfect circle, then go to the menu SELECT->Inverse This selects everything in the layer except the moon which is now a perfect circle. Click delete. Now you have just the perfectly circled moon in your layer. Step 4: Ok now you have 2 separate pictures, one of the abstracted girl, one of the moon. / The objects you want to put together. So first, make sure you also set the color profiles to be the same (Edit->Assign profile) and make them the same.. I used Kodak Interexchange RGB for this picture. Why because I print on Kodak Paper usually and I like the color brightness of that profile. The normal profile is pretty dull when it prints. Next thing to consider is size and depth of the images. I want both images to have the same pixel dimensions. They are not at first as the girl was taken with my 4 meg pixel point and shoot, the moon with my Canon 5D (13 meg pixels camera). Also, I want the girl larger, and the moon smaller than the girl so I need to adjust the size and dimension of both. Ok so now I resize the girl to the approximate size I want her. How you ask without making her into a bunch of digital squares? Because if I just made a 16X20 print of her using normal size increase in PS that’s what she would become. So what is one to do? Well, Tom Ing (great book by the way) taught me a trick, in PS if you increase pixel size by no more than 10% and use bi-cubic smoother you will not change the resolution by much. Key is getting it to the resolution you want first (perhaps by making the image smaller). I like to make it 300 mpx incase I want to print it very large later (but you can select any resolution you like as long as it’s the same in all three pictures) Unclick all the boxes in size, and enter resolution of 300 mpx. In this case it made the girl smaller. Rule: if you increase the meg pixels and keep everything else the same, without re-sampling it, the picture becomes smaller (sometimes very small) not to worry we will make it larger after. So I do that, all are now 300 mpx. Next, I repetitively, increase it size to the size you want, with two boxes checked constrain proportions, and scale style, and resample image unchecked. Do it by no more than 10% until you get to the image size you want. (PS short cut, set up an action to do it for you). Now do the same for the moon picture make it the size you want it to be in the end. Ok all of that was just getting so you could merge the two pictures together nicely. / / Next I open up a new picture base the size I want the end picture to be (my blank canvas so to speak.) With all three pictures open, I go to the Layer toolbox select the layer containing the picture of the girl and drop it on my blank canvas, I do the same with the moon picture. Both will become new layers on my blank canvas. Step 5: OK now this is where the PS becomes your paintbrush and the Canvas you prepared with your sketches (images from your collection) and it is ready for painting with whatever your creative talent dictates. For me I knew I wanted the moon covering where my friend’s bald head was. And oh, I loved her hair.. flying in the wind I want that effect in my final image. One layer had this bluish/green colored background. The moon layer had nothing (as I removed it before the merge) but there was still some black around the moon, So I colored the canvas layer black to start with. I decided that was too harsh and decided I liked the blue green swirl around her so I needed to replicate it into the black areas. Using the clone tool and repetitive clones strokes, I did this (so it wouldn’t look mechanical, I used a soft edged brush shape and varied the shape and directions. To match the directions I wanted in the dimensions of the picture. Just like painting consider the end effect, the direction of your brush stroke, the intensity of your colors, and shadows and light. I created the sky elements, using this technique (I liked the yellow behind her (an accident) so I replicated that too to form a sky effect. Next extend her yellow hair pain stakingly, just like I would if I was painting with a real brush. I use several tools, the clone tool brush of various sizes, and the regular paint brush tool again vary the size and intensity. It took several hours to get the hair effect I liked. I wanted to make sure the moon was integrated with her hair and face. So one technique I used was to paint her hair behind and in front of the moon. You can do this by painting on each layer separately, then reducing the opaqueness of the moon layer in this case to 90% opaque. This gave me the effect I wanted. Then I painted in around the moon with the background on the under layer. I also add an inner glow to the edge of the moon (in the options on the moon layer just select the option of Inner Glow. Finally – I merged the layers (first the girl and the background) by clicking off the moon layer and Using Merge Visible under the Layer Menu I merged the girl and the background layer 1st, then the moon layer. Saving in between incase I didn’t like it. Two important PS tools I couldn’t live without is the History log (so I can undo anything I do I don’t like in groups or reapply it) and edit step backwards (another way to delete one move at a time). The history log disappears when you close the image so don’t close until you’re happy. So now I have my final picture which I save with all its layers (who know when I’ll want to use them again! And I digitally update the file info with my copyright notice, and I sign the picture in a color that blends with the picture. Why? This is the digital age and you need to protect yourself and they are changing US copyright laws, limiting your protection. So do that for you! One last hint / for all those out there wanting to try digital painting, try printing on non traditional papers, canvases, linen.. You can get fabulous results if you experiment. OK so we’ve reached the end of my lame digital painting tutorial.. I thought it might help some get started, and others to realize digital art is just like painting. Only your medium is different, and your tools are different. End Note: / For many years I have painted oils, watercolors and also traditional photography. I’m a computer scientist by vocation, an Artist and a photographer by passion,.. I have shown work in galleries in the US, as well as selling on the internet. When I use to show digital art and enhanced photography, in galleries with traditional artists I would hear lots of stuff about photography and digital art not being real art. I want to make a case here that digital art, is just as “labor intense” as painting oils or watercolors with paint and brushes. It takes me as long to create this as it does a traditional watercolor or oil (only oils take a long time to dry). And no the tools don’t do it for you, they are just that tools like a good sable brush is a tool. The prejudice against digital art (and yes there is a prejudice out there), I believe comes from two things: Artist afraid of competition by an art form they do not understand and artists who do not realize that programs (digital paint brushes and other tools) are just another form of the traditional tools (paintbrushes, paint, canvas or paper) they use. Just owning a sable paint brush doesn’t mean you can paint, nor does owning a program like Photoshop or a computer make Art. It is the creativity within both Artists that does that. I believe the art world has just expanded into a new dimension and a new medium. The new artists understand that and are trying to maximize it. I hope all of you who have the tools will give the medium a try. I tell you I love it and what it has done for the art world and for traditional photography. On Redbubble here, there are so many talented digital artists. I get inspired by their work and I’m no where as experience with this as some. So go out and expand the “Art World” and fight negativity you get from traditionalist that do not understand the medium or are afraid of the competition. Including some that should know better. You’re just the Monet of your time, introducing a new art form that one day will be accepted and valued. Enjoy Mary
Hi and welcome to my art studio.! You are visitor number ...
Hi and welcome to my art studio.! You are visitor number come on in, sit down and make yourself at home, I’ll go put the kettle on :) / Framed original paintings hanging in my studio Due to the lovely Robin Pushe’e requesting i post some photos of my studio…i took a few clicks…and here it is.. my studio is a double garage that was purpose built for the job. It is detached from the house, and large enough for me to pursue all my creative projects. also you will see Madonna & Child hanging in the restaurant Chill Cafe at the Manly Arts Festival in Sydney…along with the other winning entries :) The photo was most graciously taken by the lovely bubbler Samantha Goode who was kind enough to go out of her way for me to take some photos so i would have an idea of how it all looked…Thank you so much Sam!! The centre ‘tables’ were specially made to our specifications, and the other furniture all bought from Ikea / .... piece I’m currently working on with my pencil drawing of Lost and Found sitting next to it for reference, plus lots of other references, and there’s all that lovely light pouring in the window. / Large framed originals of Midnight Blues and Polly’s Pearls on studio floor / Here’s one of Karin working on Madonna & Child on brown paper, alongside for reference are Stargazer and Jess n Jumbo Karin working on the intial stages of what will become Scuba Diva I’m using chalk pastels here to fill in the large areas, then I’ll spray fixative and work in the shadows and final touches with acrylic, ink and charcoal. / Main work area, covered in reference material. I paint on the slanted easel table, some of the sketches on brown paper for Children of the World series are visible, ie I Luv Lollies and Scuba Diva. Setting the studio up took about a year of planning from initial inception. If you look closely you can see my matryoshka (russian doll) blanks in the far background. Also notice the mirror, mirrors are very important in art, if you have a problem with a drawing, look at it in the mirror (for a reversed image) and you will be able to tell what’s wrong… turning your drawing upside down will also help to reveal where the problem is. I also use the mirror if I need a reference such as feet, hands, and don’t have an image…i will sketch my own hands, feet, face….you have to be a bit of a contortionist sometimes! lol I like to hang the things that inspire me on the clothesline, including makeshift plaits from wool and dried out teabags for use in mix media applications…special greeting cards I’ve collected along the way, or particular artists that always inspire me. / A bit boring this image, my PC and printer…and messy desk area, where I work on digital colouring, etc and keep up with what’s going on here at Red Bubble / A sample of some of my canvas prints on studio floor, including Whale Dancers Two Dolls and Pearl of the Sea storage space, purpose built for the job (it’s great to have a place for rolls of stuff and keeps things nice n clean) / (more storage and the top of these benches serves as a terrific workspace and layout area. I’ve used it to create small studio and lighting effects to photograph the CHUNKIES and jewellery. You can just make out Jack and Jill on the brown paper on top of bench Loose and matted originals out on the bench, getting sorted into display folders, and frames being sanded back and refreshed after some were damaged during gallery transit Karin at work on award winner Madonna & Child with Stargazer’s flippers peeping out! Works created on brown paper, cut out and pasted onto digitally designed or plain backgrounds for maximum effect. a clearer view of the workspace from another angle, bit messy hey! The set of drawers to the right is fabulous.. it’s on castors and moves..the drawers are slimline and pull out so easily…they are full of inks, pastels, acrylics, mediums, icecream lids (for mixing paint), stamps i’ve made from cubed erasors and lots of other odds and ends. Karin gets stuck into a painting…. am often completely unaware of how much paint gets all over my face, hair, hands… kids come home from school and just giggle at me, ‘til i realise…. i’m covered in stuff and need a good scrub :) Getting lost in the moment can do that to you :) Can you see my wool plaits I use as hair models in the background, there’s a normal plait and a fishtail plait, both help me to recreate drawings of plaits…. I also use a lot of fashion mags for reference, particular for eyes, faces and fashion ideas. My bookcase is bending under the weight of all my reference books. To the right, can you see my set of drawers? In there I store colour coded fabrics and materials for my mixed media work. view of some more storage space and looking back out into our backyard which is looking very green and tropical, there’s the large roll of brown paper I’ve been using. Madonna and Child High Gloss Mounted Print on Gatorboard hanging at a Manly Cafe in Sydney during the Manly Art Festival ‘08. Other Photos Karin with Madonna & Child (newspaper photo) Range of tshirts I ordered for friends and family for Christmas ‘08 from Red Bubble, included are Jess n Jumbo Tshirt, Pearl of the Sea TShirt, Asia Blue tshirt and Little Green Teapot tshirt / Here’s Karin with a collection of her CHUNKIES a series of characters created from plasticine! This photo was for a media release. / Karin (blurrily) modelling her niece’s Little Multicolour Teapot tee on aqua in girly fit style, sorry for the blur…definitely not blurred in real life! / Karin with Asia Calendar / Karin wearing her Pirate Chick tshirt design, purchased from Red Bubble Karin in studio wearing a tee by Keith Richardson with the ‘chop’ initials he created In the background I have large white foamcore sheets onto which i thumbtack references torn from magazines and newspapers, you can use both the front and back and they are lightweight and portabe…a large sheet of foamcore is somewhere between $10 and $20 – handy stuff. On one I have kids fashion, clothing, plaits, kids in different poses, on another depictions of faces and in particular eyes so that I can study them and keep on track with the anatomy of them, I have another one covered in roses… they are also useful for pinning a display, or an artwork on paper, so i can take it inside and view it over a period of days…then decide what it does or doesn’t need…. all this while doing the ironing and other domestic things…so the mind is ever on the go thinking about art, and solutions to creative problems. / View through the window, of some of my original works on paper, includes Thoughts Become Things (girl in bathtub) and Little Green Teapot (my most popular image on red bubble) and Heart of Gold (girl on horse), also in view are Maiden Voyage (asian inspired sailing boat), Kiss Away my Tears (mother and daughter with rabbit) and Endless Love (asian princess in navy and gold) / Here’s some of the stuff I collect when I’m walking around, twigs, coral, flowers, dried leaves, unusual seaweeds, aboriginal artefacts/axes…tools/precious rocks, dead palm fronds, grasses, paper bark, seeds, shells, dead crustacean shells, textures…etc. just a bower bird really…love shiny things that glitter too :) Can you see the dried flannel flowers in the frame? I grew them, and mum pressed and framed them for me. I also collect May Gibbs work, and there’s my son’s beautiful ship drawing to the left. / ...a few more odds n ends, including my matryoshka blanks, which I’m yet to paint! / ...tools of the trade, an assortment of coloured pencils, charcoal and brushes / Bookcase bending under the weight of reference materials I’ve collected…on top my coveted collection of ‘Art Collector’ magazine along with a stack of “art almanacs’ and ‘art gallery guide australia’... / ...bit messy, but you get the idea, drawers full of fabric and other things i’ve found, colour coded, ready to use in mixed media applications. / Display table full of promotional materials, ie postcards, pamphlets, business cards, samples of art stretched onto tiny canvases, one of my giclee resin necklaces depicting Beach Shed Chic and a couple of matryoshka dolls (collections, not my own work)... also there’s the book illustrated by myself and written by iAN Derrick called She Sells Sea Cards By the Sea Shore the the Griffith Review in which my art Baby Bull Productions was featured…plus some other books written by friend Bob and amazing vector art by Matt Mawson / ...more tools of trade, watercolour crayons and gesso….you all know how much i love gesso :) Total Visits
_*Aloha, mahalo nui loa to the Hosts for including and featuring this in many groups, and to all the members who have added this to your …
_Aloha, mahalo nui loa to the Hosts for including and featuring this in many groups, and to all the members who have added this to your favourites. If you favourite this, it would be so kind of you to leave me a note and let me know you are here. Today (24 August 2009) my journal has 1871 views. Today 28 September 2009 my journal has 2063 views. Check back often for additions and updates. Mahalo, thank you so much!_ Sharon Mau RedBubble Homepage Blogspot RedBubble Newsletters Chilling Effects Clearinghouse story on Derivative Works Tips for creating a Triptych in Lightroom Sell your images at Veer Marketplace ~ Stock Images Create an eye catching montage Adobe Photoshop Lightroom Killer Tips Time and Date World Clock Photographers’ Voices Heard at Congressional Briefing on Copyright 10 ways to take stunning portraits Certified Professional Photographer Ashley Riddell ~ ranash1995 Excellent Photoshop Tutorials Metallic BW portrait toning Lipo’s Photo Effect Tips – Portrait Photography Retouch Digital Makeup by Christian Reppen Ship Speedpaint Waterfall Speedpaint Basic Retouch and Makeup Glamour Glow Skin Retouch Facial scrub for even, glowing skin Body Reshaping with Liquify Applying Texture Without Looking Like a Douche IceflowStudios Awesome Eyes Photoshop Tutorial “Excellent Photoshop Tutorials” was accepted into the How To RedBubble group Google AdWords Keyword Tool Google Search Based Keyword Tool# Google Search Based Keyword Tool Help – How It Works
Over this past summer I have been infatuated with a run down farmhouse. It’s condition left much to the imagination. The old farmhouse i…
Over this past summer I have been infatuated with a run down farmhouse. It’s condition left much to the imagination. The old farmhouse is about a 2 hour drive from my house and whenever the opportunity arose to photograph it… I came running. I had the opportunity to photograph it 3 times this summer. / / Every time I see the old house my imagination gets going. I took all these images before I knew of its history. / / Well I finally got some confirmation on its history. / / So here it is: / / Originally I thought the history of this house belonged to another house fairly close to this one…. but I was wrong. This old farmhouse used to house a family of 4. The husband had been away for some time (working) and when he had returned home he found his wife in bed with another. His wife ended up taking the children and leaving him. It wasn’t long after this that the husband when downstairs and shot & killed himself. The house had since been boarded up and left to the elements. It is in a very small community so no one wanted to live in the house after the tragic events. / / It is a very tragic story and it just got me thinking that so often we come across these finds and to us they are just great images that stir our imaginations but to some they are tragic memories. I wonder how many more of our shots hold a story. I will not return to this old homestead… somehow it just wouldn’t feel right, now that I know its sad story. / / Here are the images I took of the Farmhouse… / / / / / / / / / / / / / / / /
!http://images-0.redbubble.net/img/art/framecolor:black/framestyle:flat30/mattecolor:bright%20white/product:framed-print/size:medium/view…
/ A couple of months ago I was honoured to be contacted by the Griffith REVIEW which is a publication of topical essays, memoirs and reports by some of the best writers and artists Australia has to offer, which is put out by Griffith University 4 times a year in the form of a book They were enquiring whether they could use some of my art, the painting Baby Bull Production / to illustrate an essay in the upcoming edition “Essentially Creative”. The art appears, I’m proud to say, in the final essay “Visionaries, or the Cello of Katerina Valentine” by auther Helen Barnes-Bulley Helen is such a talented writer, she’s a Sydney University graduate, studied writing for performance at NIDA, had plays produced through the ABC and won an award through the Australian Writer’s Guild in ‘85, she also won the ABC National Award for Radio Drama in ‘89….whoa to be in such company is indeed a real honour Today after I received my very own 2 x copies of the book at a value of around AU$30 I was really taken aback….I hadn’t seen the publication before today, and just assumed it must just be a newspaper publication, but this is actually a beautiful soft cover book and the cover illustration is Mona Lisa by Ronald Wigman fellow bubbler / “Essentially Creative” edition 23 of Griffith REVIEW So take heart peoples and be encouraged won’t you, as both Ronald and I were found right here at red bubble
Light painting (otherwise known as light graffiti or light writing) is a photographic technique that involves slow shutter speeds, darkne…
Light painting (otherwise known as light graffiti or light writing) is a photographic technique that involves slow shutter speeds, darkness and a little bit of practice and experimentation. And it’s not just some newfangled thing all the cool kids are doing. Check out this image of Picasso giving it a go back in 1949. Want to try it? If you’ve got the urge to scratch that creative itch or to try something new this week, why not set yourself a challenge? All you need is a camera, a tripod, a light source (flashlights, LED lights, matches and glowsticks all do the trick) and a dark location. These resources might also come in handy: Make Magazine’s Light Graffiti Tutorial Howcast’s Light Graffiti Tutorial (video) We’d love to see what you come up with so feel free to post your brand new creations in the comments below. For further inspiration, check out some of these talented light painting bubblers: / Holding Smoke by EricD / all the pieces by melidiaz / Hearts by Chris Richards / Haunted House by bensound And if you want to see more, head over to the Painting with Light Group ...
Hello, I sell art as cell phone wall-papers on a popular site called myxer. I got an account there because I’m in a band so I figured I’d…
Hello, I sell art as cell phone wall-papers on a popular site called myxer. I got an account there because I’m in a band so I figured I’d start selling my art there as well. It’s a safe way to sell your art because it’s small when it’s a wall paper. If anyone else wants to sell then we can work out a 50% spit and it won’t cost you anything. The selling of my wall-papers will be advertised on www.blogus.proboards.com which is my free message board. Let me know.
_Sorry folks. I should have put this information in the last one but didn’t think of it. This is how you can make your own liquid water…
Sorry folks. I should have put this information in the last one but didn’t think of it. This is how you can make your own liquid watercolor paint and another tip from Maxine Masterfield. Bottle for rubbing alcohol / Maxine Masterfield found that the best spray bottle for alcohol is the Chloraseptic sore throat spray bottle. She had tried many others she said. I thought, “Well, she ought to know so I went out, bought a bottle, poured the chloraseptic down the drain, rinsed it well and filled it with rubbing alcohol and that is the spray bottle I use. Bottle for liquid watercolor and how to mix the paint / To experiment with spraying liquid watercolor, you put a bit of tube watercolor paint in a spray bottle, add distilled water, this is evidently important, shake well and spray! Just experiment by adding more or less paint until you get the color you like. It also really helps to add half a cap of Wagner brand Paint Easy. This thins paint without diluting it and helps the liquid paint from clogging up. If you find the paint is still clogging up, add more Paint Easy. It is available at Wal-Mart. The best bottles I have found for spraying paint (and believe me I have tried every spray bottle I could get my hands on) are from Hobby Lobby. They are tall and see through so you can view the color inside. The little short ones they sell at Dick Blick (holbein brand) always get clogged and it is very frustrating to have to keep switching paint from bottle to bottle. This is a great way to find out if you like the spraying technique before investing in more expensive watercolor paints that actually come premixed already in liquid form. This is a piece done with my mixing my own tube paint with water: This is a piece done with professionally premixed liquid watercolor paint: / (Robert Doak paint) I think the difference is night and day. Both are beautiful, my own mixed paint is more soft pastel and the professional is obviously much more vibrant and strong. It depends on what you like better or you might like your own paint for certain works, and the professional for others. It helps to try mixing your own before investing in the professional paints so you know you like the technique enough to invest more money.Whether you mix your own or use professional paint, you will probably need the Paint Easy to prevent clogging of the bottle. There you go. Experiment to your hearts content. It is a whole different way of painting, and very freeing and expressive, in my humble opinion. Enjoy! / Lynn
Hi everyone, Well, we spent a long day in th…
Hi everyone, Well, we spent a long day in the studio today hanging paintings and it’s so satisfying to finally have this all done now. It feels great, more spacious and more like a real gallery. We’ve had the hanging system lying on the floor of the studio for well over a year now, and never got round to actually putting it up, so I thought I’d share a couple of pics with you guys!! I don’t think I’ve ever mentioned it before, but I have lots of original paintings for sale, if anyone is ever interested in the original work, give me a yell and we can talk turkey :) I have lots and lots that are unframed too and you can’t see ‘em here .. so let me know if you see something you like in my portfolio and would like the original
I got this notion after all of the wonderful comments on my latest posting and addition to my Native American Woman’s Series ~ Mariah. ...
I got this notion after all of the wonderful comments on my latest posting and addition to my Native American Woman’s Series ~ Mariah. / I have never actually viewed all of these ladies together …I have a Calendar of the series but that only allows 12 of the collection. / So while I have acquired many more watcher’s since the beginning of this collection, posted over a year ago…I thought I would just complie all of the pieces and re-share with you. / I was greatly surprised myself just how many I have added in the past year, and I have also added the number of views on these pieces. / Enjoy and thanks in advance for any and all comments! / Many of these original are for sale, or if you wish for me to make a custom Calendar, b-mail me!! / Susan Mariah~ 97 Views / Squash Blossom~ 170 Views / Raven1889 Views / Wrapped In Tradition 1068 Views / Lone Star~ 1917 Views / Phoenix~ 531 Views / Navajo Woman, Long Walk Home1211 Views / Defiance 135 Views / The Southwest Blanket~ 282 Views / Lakota Child~ 85 Views / Old Kate~ 182 Views / Edge Of Womanhood~ 236 Views / The Knowledge Keeper~ 186 Views / Pasque Flower~ 88 Views / Hats For Sale~ 157 Views / Wrapped In Tradition #4~ 108 Views / Wrapped In Tradition #3~ 91 Views / Wrapped In Tradition #2~ 128 Views / The Tribal Healer~ 183 Views / Turquoise~ 286 Views / Dressed To Dance~ 300 Views / The Shaman’s Daughter~ 217 Views / The Flower Girl #2~ 187 Views /
*Today is reception of my Solo – Exhibition! / I’m honored and happy…and at the same time amazed by what Frannie Moore can do. / I want to …
Today is reception of my Solo – Exhibition! / I’m honored and happy…and at the same time amazed by what Frannie Moore can do. / I want to THANK YOU very much for this thing Frannie!!! / I appreciate a lot what you do for others… For me it would be a pleasure if you will come and will be guests! :) / I will wait here /
*Thanks everyone for adding this to your favourites. Terry Hinkle is going to co-host the “Photo Realistic Artwork Group” with me and an …
Thanks everyone for adding this to your favourites. Terry Hinkle is going to co-host the “Photo Realistic Artwork Group” with me and an application is pending with Red Bubble. Can’t wait to get this group started and showcase the amazing photo-realistic works on the bubble. I’ll keep everyone posted! / Jo Hi Bubblers! / I’m interested in starting a new group on the bubble to showcase PHOTO REALISTIC ARTWORK and am looking for a co-host. There are some mind-blowing pieces on Red Bubble that are so incredibly realistic that you have to actually double-check to make sure that they aren’t a photo! These are the types of works I’d love to showcase. I know how time consuming photo realistic work is and how much patience is required to pull it off so I think it would be great if there were a group to celebrate these efforts. The group would accept all traditional mediums and all real-life subjects (portraiture, landscapes, animals etc..). I haven’t been able to find a group like this on the bubble so if one exists, please let me know! If you are interested in co-hosting with me, please let me know. It’s something I’d really like to start up in the new year. / Jo
Here’s some interesting texures you can make using watercolour paints. from top to bottom: Alcohol – Drip some alcohol on the painted area and the paint will separate from the area. the dryer the paint is, I’ve found, the darker and crisper the edges of the seperated area of white will be. Salt – Sprinkling Salt on the paint created a sandy texture. the longer you leave the salt there as it dries, the more the paint will spread but this works best the more semi dry the area is. Blotting/Lifting – As an area dries, you can used water in your brush to blot areas back to white by making the paint spread away or you can use a dry brush to absorb or lift the paint from the area. Stencils/erasing – While an area is semi dry, you can use paper or plastic shaped to remove the paint in a shape. I like using tape when i do this, shiny side down and sticky side up, this way you can touch it with the other end of your paintbrush to pick it up instead of trying to peal it away with your nails. Sandpaper – This is hard to pull off in my opinion but is you use good, thick watercolour paper so you dont get holes and wait for the paint to be nearly dry like on the right rather than the left, you get a scratchy effect. Wax – Use candles or wax crayons to make marks and shapes but drawing with the candle or crayon then adding the paint. Like on the left. You can go back after the paint dries and wax out more areas to keep that colour and then paint again like on the left to create layers.
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