World history is a rather nebulous term that can refer to anything from the summary of worldwide events within a particular calendar year, leading all the way back to the creation of the planet. The most popular definition defines world history as the written record, which began many centuries before the birth of Christ.
4 Billion Years of History
Scientists date Earth as being about 4 billion years old. Although the means of creation may be uncertain, the age of the planet raises fewer debates.
Evolutionary History
The first appearance of man has raised much scientific discussion, but contemporary evolutionary history has the development of upright-walking man occurring about a million years ago.
Racial Theory
Today, the human species comes in different forms (or races). This is also a highly-debated topic in both the scientific and non-scientific communities. It is clear that the human race is quite varied, but this fact seems to evade clear explanation.
The Written Record
A very popular way of looking at world history is through the written word. Unfortunately, there are several different types of alphabets, so this method is not free from discussion and controversy.
Ethnocentric History
World history can be viewed through the eyes of one particular culture. For example, both the British and Chinese empires were involved in the Boxer Wars and as a consequence, each culture has its own perspectives of this common event.
Polymer modeling clay offers crafters an easier way to achieve professional results without dealing with toxic materials or expensive kilns. Working with modeling clay is relatively easy when the basic working methods of the clay are understood. For optimum results, it's best to understand condition, sculpt and properly bake your clay.
Conditioning
By conditioning clay, the clay is made more pliable and workable. When polymer clay sits dormant, it tends to become harder and sometimes brittle. This can be alleviated with conditioning.
The most common way to condition clay is through hand kneading. The kneading helps the clay to warm gradually, causing it to become softer and suppler. Clay that has been stored for awhile will be more difficult to condition at first. With continued hand conditioning, however, the clay will begin to become more pliable and will soon be easier to knead.
Another method for conditioning clay is through the use of a polymer clay dedicated pasta machine. This method takes some of the stress off the hands by using the pasta machine to roll thin sheets of clay. Placing the clay into the pasta machine, it is rolled through the machine numerous times until it is soft and workable. Depending on how cold or hard the clay is, this can take anywhere from a few rolls through the machine to more than 20. You'll know when the clay has been thoroughly conditioned by the machine when it rolls out of the machine in a smooth sheet with no jagged edges.
Sculpting
Sculpting with clay is more or less a trial-and-error endeavor. There are some tricks, however, to make more common tasks easier.
The easiest way to prepare a cylinder of clay is by rolling the clay into a ball and then placing it on a hard surface such as a work table or large ceramic tile. Begin by rolling the clay between the table and hand until it begins to take on a log shape. Continue to roll the clay, alternating positions on the log so as to avoid an hourglass effect, until the clay log is the needed size.
For spheres, the easiest way to create a uniform, perfectly round sphere is by rolling it between the hands, keeping one hand still while rolling with the other. This prevents the sphere from becoming distorted.
Baking
It is imperative to follow the directions provided by the manufacturer when baking clay. Most clays require a baking temperature of around 275°F. The exception to this is Fimo brand polymer clay, which has a new, lower baking temperature of 230°F.
Generally, clay should be baked 30 minutes for each ¼ inch thickness. It's important to carefully watch your clay as it's baking so it doesn't scorch or burn. If the clay should begin to burn and release a smoke, clear the room of all people and pets, as the fumes can be harmful.
Clay should be baked on a dedicated sheet or ceramic tile. To prevent the clay from becoming too shiny on the surface where it meets the tile or baking platform, parchment paper or a brown paper bag can be placed between the clay and the baking sheet.
Sanding and Polishing
When sanding clay, begin with a lower grit sandpaper (200) and gradually work up to a fine grit (800). Use wet/dry sandpaper and sand under running tap water or in a bowl of water to prevent polymer particle dust from releasing into the air.
Once the clay is sanded, it can be buffed to a sheen using a denim cloth or a mechanical buffing wheel. If a high gloss is needed, water-based sealers such as Varathane can be used as a varnish.
Drawing the human face can be difficult if the artist does not begin with a strong "skeleton," or base. Although the word "skeleton" may remind some of high school biology, when illustrating a human face it means creating a stable base. Some people want to jump into details like eyes, hair and the nose before they sketch out a base, which can lead to unnatural facial features and uneven eyes, eyebrows and ears. Another key to successfully drawing a human face is using quality drawing pencils and paper. Quality materials provide smoother, less smudgy line work.
Instructions
Non-photo Blue Base
1. Non-photo blue pencil is used to sketch a base.
Sketch an oval using the non-photo blue pencil. Non-photo blue pencils allow the artist to quickly sketch basic shapes. If the illustration needs to be scanned, the non-photo blue will not appear on the scanned image.
2. Draw a circle over the oval, starting at the top of the oval and extending the circle about a third of the way down. Make sure to extend the sides of the circle out slightly from the oval. This represents the bulk part of the skull.
3. Use the non-photo pencil to connect the circle and oval into one fluid shape. This is the basic outline of the head. Draw a vertical line down the center of the face.
4. Draw Line 1 horizontally across the center of the head. Then, draw Line 2 below that at the halfway mark between Line 1 and the point of the chin. Draw Line 3 halfway between Line 2 and the point of the chin. These lines will act as guides when creating facial features.
5. Illustrate a "ghost" eye in the center of Line 1. This eye will only be used as a guide to tell the artist how far apart the eyes should be. The "ghost" eye should be centered in the intersection of the vertical line and Line 1. An easy way to create an eye is by drawing a half-circle above Line 1 and another half-circle below Line 1.
Graphite Pencil
6. Draw the ears. The top of the ears should begin at Line 1 and the earlobes should touch the top of Line 2.
7. Pencil in the eye outlines. Each eye should touch the edge of the "ghost" eye created earlier. The eyes also should be the same size as the "ghost" eye. Add the iris outline, but make sure the round iris is cut off at the top and reaches to the bottom or slightly above the eye outline. This is because the eyelid always covers the top part of the iris. Draw a curved line from the inner corner of each eye to the outside end of the eye. This is the eyelid.
8. Sketch a pupil in the center of the iris. Do not fill the pupil in yet; focus on outlining the facial features first to avoid smearing.
9. Lightly pencil in eyebrows. Draw tiny dots to represent the ends of each eyebrow, all of which should be at the same level as the tops of the ears. Begin the thick part of each eyebrow directly above the inner corner of the eye, arch it slightly, then connect it to the end dot.
10. Draw the nose. The bottom of the nose should touch the top of Line 2. Next, draw the nostrils. These should be the same width as the "ghost" eye. Pencil in the nostril holes along the sides of the bottom of the nose. The nostrils should be thin, elliptical and at a slight diagonal, pointing down and in towards Line 2.
11. Add the mouth. Begin with the bottom lip by drawing a curved line that looks like a smiley face smile. The bottom of the curved line should touch the top of Line 3. Then draw the top lip. The top lip should have two rounded peaks in the center. The sides of the mouth should extend to about the center of the irises.
12. Draw the basic outline of the hair. Make sure the hairline starts about a quarter of the way down the top of the head.
Charcoal Pencil
13. Color in the irises and pupils with the charcoal pencil. Use a light hand to fill in the irises and a heavier hand to fill in the black pupils. Charcoal is very textural, so it will give fills more interest.
14. Fill in the eyebrows. Do this by flecking in individual hairs, with more hairs concentrated at the inner part of the eyebrows. Taper the hairs at the ends of the eyebrows.
15. Shade in the nostrils and lips. The bottom lip should be slightly darker than the top lip.
16. Create hair. Charcoal's textural quality makes it unnecessary to draw individual hairs; instead, fill the hair area and add hairs here and there to create the illusion of strands.
17.Shade around the temples, below the eyebrows, along the bridge of the nose and beneath the bottom lip. Use the charcoal to soften the hard lines of the eyelid, nostrils, ears and lips.
The first element that separates acrylic and oil painting is time. Oil painting brings with it the heritage and richness of classic art, and acrylic represents the versatility of the modern world. Familiarity of both forms can help you extend your expertise in painting. Regardless of the medium you adopt, it should allow you to express beauty with freedom, comfort and happiness
Background
Oil painting has been around for almost 500 years. It was immortalized and perfected by Italian and Venetian artists in the Renaissance period. Oil paints are made of mainly vegetable oil, which includes linseed oil and other pigments.
The earliest from of acrylic is acrylate, which was formulated by Otto Rohm in 1880. It was patented to be used as a substitute for drying oils in industrial paints. Acrylic painting became popular among young, innovative artists in mid-20th century. Acrylic paint is a man-made polymerized paint that is water-based.
Artistic Appeal
Oil painting has been highly respected throughout centuries because it exudes realism that is incomparable to any other art form. It provides bright colors and vivid images as well as rich and intense layering. The most prominent and unforgettable paintings are oil portraits.
Acrylic painting produces a shiny look with a unique blend of colors. It carries a more flat texture regardless of the layering. When acrylic paints dry, the colors become slightly darker. Overall, it creates a smooth, transparent finish and an illuminating appeal that seem to match the dynamics of mainstream art.
Characteristics
Acrylic paint dries faster than oil. It dries in the span of 15 minutes to an hour. Once dried, the paint stain cannot be washed off. Oil paint's surface needs a couple of days or a week to dry. Mixing colors with acrylics is harder than oil. Oil painting allows easy mixing of colors, thus producing more variations. Acrylic's chemical composition are designed to make them resistant to chemical changes, reactions with oxygen and ultraviolet light exposure. Acrylic can easily be diluted in water, thus allowing you to produce paintings similar to oil and water coloring. When acrylic dries, it becomes resistant to water, therefore making it more protected from deterioration.
Considerations
Oil paints dry slower, so it's ideal for beginners who want to take time and might make many corrections while painting. Oil paint's composition can be toxic, so you need appropriate painting clothes and a spacious work room with natural ventilation. Acrylic paints are generally cheaper than oil, however, you have to buy additional retarders, pastes and gels to slow down the drying rate of acrylic. You only need to quickly wash your hands and tools to wash off acrylic paints. Oil paint requires turpentine for you to remove it completely.
Longevity
Oil paints have the tendency to crack and discolor over time. Oil paints' chemical nature deteriorates upon continued exposure to moisture. However, it has been proved that they survived through centuries. Acrylic paints, based on its scientific design, are expected to last longer than oil paints. However, it has just been around for 50 years. It is difficult to know for certain through experience if it will surpass the durability of its counterpart.
A sandpaper block is a small wooden paddle with strips of sandpaper stapled to one side. You use a sandpaper block to sharpen pencils, charcoal or pastels, or to clean drawing tools.
Sharpening Pencils
Create special effects by shaping pencil tips.
Some pencil-drawing techniques require you to shape the pencil lead in a way that is difficult to accomplish with an ordinary pencil sharpener or penknife. Use the sandpaper block to create a pointed, flat or diagonal tip, after first sharpening a pencil with a knife or sharpener.
Charcoal for drawing is usually too soft to sharpen properly with a pencil sharpener or knife, and the tip of a charcoal stick wears down quickly. Use the sandpaper block to refresh the tip for fine lines or other effects.
Sharpening Pastels or Conté
Pastels, chalk and Conté crayons are generally harder than charcoal, but they are often too crumbly to sharpen easily with a knife or pencil sharpener. As with charcoal, you can refine the tip with a sandpaper block to draw fine lines.
Making Graphite or Charcoal Powder
Create interesting effects with powdered pastels.
You can create interesting shading effects by applying powdered graphite, charcoal or pastel to your drawing. Create a small amount of powder using sandpaper and then pick it up with a paper stump, chamois or tissue, and draw with the powder.
Cleaning Erasers
To avoid making a mess when you erase lines from a drawing, use the sandpaper block to freshen your eraser. You can also use an eraser as a drawing tool, to add highlights. Use the sandpaper block to shape the eraser for the effect you want.
Eyelashes have purposes that are easy to overlook. Women decorate and lengthen their eyelashes and are sometimes bothered by eyelashes falling out. Eyelashes, despite their simplistic look and seemingly useless purposes outside of beauty, actually have several purposes relevant to the eyes.
Protective Purpose
Eyelashes prevent particles in the air or environment, such as dust for example, from getting into a person's eye, causing pain and possible infection. People believe that eyelids serve this purpose too, but eyelashes stop particles in close proximity of the eye from actually entering the eye by sealing off the space between the closed lids and the eyes.
Preventive Purpose
Eyelashes are curved and structured in such a manner as to keep foreign water or moisture from getting into the eye. The structure and curve of the eyelid is designed to repel water from the eye and direct it to flow down the sides of the face, eyes or nose.
Guiding Purpose
Eyelashes are very sensitive and can help calculate distances and proximity between an eye or face and its environment, much like the whiskers on a cat. They sense if something or someone is very close to the face. They can also alert you to small insects and particles coming near your face and eyes.
Relation to Brow
The eyelashes, brows and forehead work to shield the eyes from blazing sunlight. The brow protrudes, causing the eyes to be sunken under the eyebrows and brow. Of course, dust particles, sweat, and rain or other moisture also fall under this category as well. The slope of the brow and the eyelashes work in a partnership to fight against the dangerous particles and presences in the natural environment.
Conclusion
Eyelashes serve important functions aside from aiding in emotion, beauty and attraction in both sexes. This is one reason that it is rather dangerous to pluck one's own eyelashes or to replace them with fake eyelashes for beauty purposes. Natural loss of eyelashes occurs quite easily. Please remember to treat your eyelashes with caution and try not to pluck or remove them for the sake of vanity if it is not necessary.
Transfer your photos onto canvas to create your own original art.
If have a photograph -- or even an image from the Internet -- that would make a great piece of canvas art, you don't have to pay for expensive canvas printing. You can transfer any image directly to canvas yourself with a few easy-to-find materials and tools. Creating canvas art from photographs is particularly satisfying and enjoyable when you complete the project yourself -- and you will save money along the way. With the right preparation, you can make your own canvas art from photographs at home in an afternoon.
Instructions
1. Photocopy the photograph or image you'd like to transfer to canvas. Avoid images containing text, as the final image will be reversed on the canvas. Do not complete this step until you are ready to transfer; fresh photocopies work best for this project.
2. Place the photocopy, image-side down, on top of the canvas. Secure it in place with tape.
3. Rub the back of the photocopy with your blender pen, using firm, regular strokes. Be sure to cover the entire image.
4. Use the back of the spoon to apply pressure to the photocopy. Working in small circles, carefully cover the entire image area.
5. Peel up one corner of the photocopy to check the quality of the image transfer. If it is too light, re-wet with the blender pen, and re-apply pressure with the spoon.
Norman Rockwell was a 20th century American painter. Born in 1894, Rockwell became most famous for his depictions of American life that were featured on the cover of The Saturday Evening Post magazine.
Early Art Studies
Rockwell enrolled in classes at the New York School of Art when he was 14. After high school, he studied art at The National Academy of Design and The Art Students League.
Boys Life
While he was still a teenager, Boys Life magazine hired Rockwell as art director. He also began working as a freelance illustrator for other publications.
New Studio In New Rochelle
Rockwell moved to New Rochelle, New York, at the age of 21 and established a studio with cartoonist Clyde Forsythe. At this new studio, Rockwell produced work for Life, Literary Digest and Country Gentleman magazines.
Saturday Evening Post
In 1916, Rockwell produced his first cover illustration for the Saturday Evening Post. Rockwell considered this publication to be "the greatest show window in America," according to Normanrockwellmuseum.org.
The Fruitful Decades
The 1930s and 1940s were considered to be the "most fruitful decades" for Rockwell, according to Normanrockwellmuseum.org. During this time, Rockwell produced his famous "Four Freedoms" paintings.
How we perceive a landscape can make a difference in its value. Through the eyes of the Cree people, the natural landscape is valued by how it contributes to their traditional life way. According to the Cree Cultural Center in Montreal, the Cree have both a physical and a spiritual relationship to the landscape.
The Beginning
Boreal forest in winter.
The origin of the Cree people lies in the tundra and subarctic Boreal forests of northern Quebec, a cold, harsh landscape. According to Concordia University in Montreal, the value of this landscape was based not on its habitability, but on its resources. The Cree were hunters and trappers. From the beginning, although they lived in harmony with nature, they were a nomadic people. The animal species present, the geographical features of the landscape, and the limits set by the seasons on their activities meant survival. They moved on when the resources of the landscape failed to meet their needs, leaving behind little evidence of their occupancy.
A New Landscape
The wetlands at James Bay, Quebec.
Gradually, the Cree drifted southward to occupy the forests and wetlands east of James Bay. There they saw opportunity to broaden their landscape. The Cree had no word for "ecosystem" but they were beginning to understand the concept of it. In the wetlands around James Bay they discovered new resources. Good management of this new landscape was essential to their evolving culture. Wild rice and root vegetables that grew in the marshes, fish, migrating geese and other water fowl became staples in their diet. According to studies done by both Concordia University and the University of Arizona, the James Bay Cree cleared trees and brush in the coastal forests to facilitate in the hunt for game, and give more room for wild berries to grow. They built dikes to extend the habitat of water fowl, and made weirs to catch fish.
Across the Prairies
Herd of bison.
The traditional Cree landscape changed again with the arrival of Europeans in James Bay in the 1600s. The Cree recognized the inevitability of change and responded to it with their usual resilience. According to the Cree Grand Council, many of the James Bay Cree eventually participated in the fur industry as trappers, and traded with the Europeans for goods that had not been available to them ever before. Others, who had become accustomed to the wetlands, sought a similar landscape along the marshes of the Hudson Bay. Some of the people, dissatisfied with the intrusion of outsiders, chose to migrate from Quebec across the prairies of southern Canada to Alberta, overflowing into Montana, where they become known as the Plains Cree.
The Cree Concept
Cree woman at home.
The Cree connected with this wide, open landscape. They acquired horses and hunted bison. There was less variety in their diet, but the bison meat was nourishing, and the hides were useful in many ways. No part of the bison was wasted. Lacking the bark available in their forest landscape, the Cree used the bison hides to cover their wigwams, and substituted prairie turnips for rice. Our modern concept of "landscape" is aesthetic -- the artistry of nature. According to information from The National Library of Canada, the Cree refer to the landscape as their "garden," but it is composed of their interconnectedness with the plants, animals and terrestrial physical features, and the "Great Spirit" -- a complex concept not unlike ecological system, with all parts working in unison.
While American news personality Chris Wragge has covered everything from the Academy Awards to the Olympics, nowadays he's an all-around news anchor.
History
Rutherford, N.J.-raised Wragge was a high-school athlete, landing a football scholarship to the University of New Hampshire. Earning three varsity letters and a Bachelor of Arts degree in communications, his first televised reporting gig was on CBS' "48 Hours" in 1991. Wragge served as a correspondent for the syndicated "Entertainment Tonight" from 1996 to 2000, as well as The Travel Channel, HGTV and the DIY Network (2000-2004).
Sports News
From 2000 to 2004, Wragge worked for NBC Sports as a reporter, and also served as as sports director and anchor of nightly sportscasts for affiliate KPRC-TV in Houston. He covered professional golf on USA Network (2002 to 2006), and in 2004 became weekday sports anchor and director for New York's WCBS-TV, where he hosted NFL pre-game show "Sunday Blitz" and highlights show "Sports Sunday."
News Anchor
In November 2006, WCBS promoted Wrigge to news anchor, which led to his role as substitute anchor on the weekday edition of "The Early Show." He also co-anchors the Saturday edition of the same program.
Awards
Wragge has won multiple Emmy Awards, including 2009 Best News Anchor in New York. He also snared two New York State Broadcasters Association Awards, for "Sports Sunday" and his coverage of October 2006 baseball.
Personal Life
Wragge married Playboy Playmate Victoria Silvstedt in 2000, eventually filing for divorce. While separated from Silvsedt, he reportedly dated former Philadelphia news anchor Alycia Lane.
Chris Tamburello, 28, is a recurring cast member on MTV reality shows such as "The Real World: Paris" and "Gauntlet 3." Chris goes by the nickname "CT" and boasts of Italian, Greek and Irish descent.
Beginnings
CT was born in Brooklyn, New York, but grew up in the suburbs of Boston where he most likely cultivated his trademark "Irish temper."
Cool in School
CT studied business management at the University of Massachusetts and toiled as a bartender in a local Boston nightclub near campus.
TV Bad Boy
Although self-described as confident, he is known to be cocky and create tensions on set with his housemates on Real World.
Meltdown, Part I
Things came to a head on the reality show "The Duel II" when CT had a vicious meltdown after he lost to Brad. He threatened to "murder" Wes, a fellow participant.
Meltdown, Part II
CT continued his loose-cannon ways to another reality show, "Inferno III," when he punched Davis in the eye.
Digital design is best learned in college or art schools.
The world of digital design is wide and has been used to create most of the images that you see on your computer. Digital design can include digital photography enhancement, graphic design, web design, and television media. Those who enter into this field must go to a college or university to learn the fundamentals of digital design, and eventually choose a specific field of digital design that they wish to specialize in. The best way to learn digital design is by taking college classes, and furthering your knowledge with available tutorials.
Instructions
1. Enroll in a college or art school to learn digital design. You'll need to pick the area that you're interested in most, or complete a comprehensive program to learn all areas of digital design.
2. Take separate courses for digital design. These may be available in your community for free, or for a fee.
3. Download tutorials to aid in your study of digital design. Many of the programs that digital artists use offer tutorials to enhance your knowledge of the art. Such tutorials are available from Adobe, Macromedia, Correl, and many others.
4. Find employment as an intern or an aid where the use of digital design is highly used. Some places you can look for this type of employment are in printing and design shops, magazines, or from other professional web and system design businesses.
5. Hire a private tutor to assist you with your study of digital design. Many times former students or graduate students will offer tutoring services in their spare time, or a list of tutors may be available through your art department.
Birch trees are known for their white bark and tall, narrow stature.
Due to their detailed appearance and striking contrast to their surroundings, birch trees are a suitable subject for the budding artist to paint. Known for their white bark and tall, narrow stature, birch trees are elegant and simple and add interest to any room. Take the proper steps and use the right tools to create a painting of birch trees you can be proud of.
Instructions
1. Lightly sand a canvas with fine-grit sandpaper. Remove any sanding grit with a tack cloth. Apply two coats of water-based varnish to the canvas with a sponge brush.
2. Lightly sketch the birch trees with a charcoal pencil. Use a photo or picture of birch trees to reference when drawing in order to achieve a natural and accurate depiction.
3. Apply two coats of acrylic paint in titanium white to the trees using a medium-sized round brush.
4. Mix two parts titanium white acrylic paint with one part black ivory acrylic paint. Apply a small amount of the gray mixture to a small, flat brush. While the white paint on the trees is still wet, drag the flat brush across each tree trunk in a horizontal direction. Start at one side of of each trunk and bring the brush into the middle of the trunk. Then bring the brush to the other side of each trunk and brush inward into the center. Start at the bottom of each trunk and work your way up to the top. Leave some gaps of white in various points on the trunk and branches. This will create the striation look that birch trees have. Allow the paint to dry.
5. Apply a small amount of black acrylic paint to a medium-sized dry brush; remove excess paint with a paper towel. Stipple a few spots of black onto the trunks and branches of the birch trees by gently pouncing the paint onto the canvas. This creates the look of dark knots and imperfections in the tree bark.
6. Paint small green leaves on the branches using light green acrylic paint and a fine-tipped paintbrush. Add details and veins to the leaves with dark green acrylic paint and a liner brush. Allow the paint to dry thoroughly.
Many studio art programs require a bachelor's degree in art or art history.
A master's degree in studio arts will expand upon what undergraduates learned in college. The degree will prepare them to teach art at a university level. Many universities require prospective students to have a bachelor's degree in art or art history, but some will allow students who have taken sufficient classes in art history and art as an undergraduate to enroll in the program.
New York University
The Steinhardt school at New York University offers a Master of Arts degree in Studio Art. The school is accredited by the Middle States Association. Students in the program will complete 60 credit hours of coursework. The degree must be completed within six years. Prospective students must have a bachelor's degree, three letters of recommendation and a portfolio. Preference will be given to students who hold a bachelor's degree in art and art history.
Adelphi University
Adelphi University is located in Garden City, New York and is accredited by the Middle States Association of Colleges and Schools. Students in the Master of Studio Art program will complete 36 credit hours of coursework with subjects such as ceramics, photography and painting. Twelve of the 36 required credit hours will be in studio arts. Prospective students must have a bachelor's degree in art or art history from an accredited four-year university and must also submit a portfolio for review.
Ball State University
Ball State University is located in Muncie, Indiana, and is accredited by the North Central Association of Colleges and Schools. The university offers a master's degree in visual arts with an emphasis in studio art. Some of the courses offered include art history, drawing and teaching art awareness. Students wishing to enroll in the program must have a bachelor's degree in art or art history and a grade point average of 2.75. Prospective students are also required to submit a portfolio.
Marywood University
Marywood University is located in Scranton, Pennsylvania. The school is accredited by the Middle States Commission on Higher Education. Students in the Master of Arts in Studio Art program will be required to complete a total of 36 credits. Eighteen credits will be in studio art and nine credits will be used for the master of arts core requirements. Students who wish to enroll in the program must have a bachelor's degree in art or art education, or have taken an extensive amount of art or art history classes as an undergraduate.
Artist dummies are ideal models: they don't move, complain, take coffee breaks or charge overtime.
Human figure drawing is challenging, even for experienced artists. Working from a model is extremely beneficial to get proportions, shapes and shading correct. Your friends may not be available for all the times you require a model, and hiring models can be cost prohibitive. An alternative to a live model is an artist's dummy: a jointed, posable mannequin.
Instructions
1. Select an artist's dummy you like. Dummies come made out of wood or plastic, and are capable of various degrees of flexibility, depending up on the quality. Choose between male and female figures.
2. Pose your figure. Consider what you want to achieve, such as someone standing casually or someone engaged in an energetic dance. Play with your figure until you are satisfied with its pose.
3. Light your figure. You can leave in the natural light of the room and work with that. Alternately, you can give your figure more dramatic lighting, such as putting it near a window on a sunny day, or aiming a spotlight or flashlight onto it from one angle.
4. Begin sketching faint shapes to capture the mannequin's rough shape and proportion. Use basic geometrical shapes, such as an oval for the head, circles for shoulder, knee and elbow joints or a rectangle for the torso. Just sketch the shapes you see in it, paying attention to keeping proportions accurate.
5. Go over the base guidelines you lay in with a kneaded eraser to lighten them, if necessary.
6. Refine the form, creating more human-like shapes and contours. Continue using a light touch and use your original shapes only as guides.
7. Trace the outline of a more human form around the guidelines you have set down. Add more details in the shapes and contours.
8. Examine where the light and shadows fall on your mannequin. Sketch the shadowy areas to create the illusion of depth. This is where your two-dimensional form will begin to look three-dimensional.
9. Keep working on it until you are satisfied. Change, erase and re-draw lines as necessary. Pose your mannequin differently and try again, as practice will improve your skill.
Celebrate Chinese New Year with a homemade dragon puppet.
Dragons are mythical creatures found in fairy tales, legends and folktales. In Asian cultures, however, dragons are perceived as good luck and are associated with strength and intelligence. For these reason, dragons have become an important symbol for Chinese New Year. Create your own unique dragon puppet craft and join in on the festivities.
Instructions
1. Draw a dragon head, two rectangular body pieces and a tail on a piece of foam board. You can also print and copy a pattern. Cut out the pieces.
2. Cut several strips of construction or patterned paper to compose the elongated dragon body. Measure the strips so that they are about two inches wide, and one or two inches longer than the width of a rectangular body piece. Use pinking sheers or scalloped scissors to create interesting edges on the strips.
3. Place one rectangular body piece on a flat surface. Glue one strip at the edge of the rectangle. Overlap another strip slightly over the first strip and glue that on the rectangle. Continue overlapping and gluing the strips until the entire body surface is covered. Repeat with the other rectangular body piece.
4. Decorate and color in the face and tail of the dragon using markers, glitter and so on. You can also add hair or flames by cutting out construction paper and gluing it on the dragon.
5. Punch holes on the left edge of the head piece, both sides of the rectangular body pieces, and right edge of tail. Arrange the dragon body parts in order and align the holes. Connect the body parts together, using brads.
6. Glue one chopstick to the back of the head and the other chopstick to the back of the tail. Use as handles to navigate your dragon.
Henry Martyn Leland, the founder of Cadillac Automotive Company in 1902, named his luxury, precision-made car after Frenchman Le Sieur Antoine de la Mothe Cadillac. Leland wanted to honor Cadillac, who founded the city of Detroit in 1701 initially as a frontier outpost and fort. The Cadillac Automobile Company roots are traced to a precision machine company created by Leland and his partner Robert Faulconer.
Cadillac Origins
Leland named his car the Cadillac because it evoked quality and the pioneering spirit. Leland probably didn't know that Le Sieur Antoine de la Mothe Cadillac was a fake. Cadillac fled France for America to escape the persecution of Protestants and bad debts. He reinvented himself as a nobleman. The title created a new persona of a French dandy and adventurer.
Cadillac the Explorer
Michigan in 1701 was uncharted territory. Cadillac was exploring what later became the Detroit River when Cadillac and his crew spotted an ideal shoreline for a settlement from their canoes at what is now Shelby Avenue and Jefferson Street in Detroit's city center. He named the new settlement for the French word "détroit" or "strait of a river."
The Tinkerer
Leland was a tinkerer and astute student of machinery. His father instilled in him a strong work ethic and demanded that not only his son operate machinery with a high level of competence but understood how it worked. While employed as an apprentice for gun manufacturer Colt, he began to understand the importance of mass-produced, precision-made machines.
The Perfectionist
The automobile industry at the turn of the 20th century perfected the concept of precision-made product manufactured in large quantities. Interchangeable parts in machines and products were fledgling technology. Leland's work in developing interchangeable bicycle gears and his appreciation of the simple but effective inner workings of a revolver foreshadowed his ability to create a reliable luxury car.
Cadillac Inspiration
Leland wanted a car that was reliable but featured a higher standard of workmanship and comforts not found with his rivals' cars. Eschewing the tradition of naming the car after himself, he wanted a name that denoted nobility, albeit on a less class-conscious scale.
Why the Name Fits
Detroiters of the late 19th century were a proud lot. Their French roots ran deep and set them apart from the British and German origins of their neighbors farther East. Leland saw in Le Sieur Antoine de la Mothe Cadillac what he wanted in his own company. Cadillac the man represented the best of Detroit. Leland recognized Cadillac's sense of adventure. Images of the man reflected a well-dressed, well-coiffed high-caliber person. The Frenchman's heraldry, the family crest, was chosen by Leland as the car's logo.
The Result
Leland's first Cadillac rolled out of the factory late 1902. It was a one-cylinder runabout featuring patent leather fenders. The engine design and execution reflected Leland's precision-making skills. By 1903, the chassis was equipped with a steel frame, two half-elliptic springs and a steering wheel instead of a tiller. More than 20,000 Cadillacs were manufactured by 1907.
Scholars generally agree that Shakespeare wrote his first play sometime between 1588 and 1592.
History
The first reference to Shakespeare came in 1592 by a rival playwright, indicating that Shakespeare was an established figure.
Evidence
Records show that "The Comedy of Errors" was performed in 1594, but clues within the play indicate that it was written at least two years earlier.
Context
Shakespeare began his career as a playwright during the latter years of the Elizabethan age. Thomas Kyd and Christopher Marlowe were among his contemporaries.
Controversy
While many scholars believe that "The Comedy of Errors" was Shakespeare's first play, others, such as critic Harold Bloom, believe that "Henry VI" was his first, contending that "The Comedy of Errors" is a much more sophisticated composition.
Significance
Within a decade the amateur Shakespeare transformed into perhaps the greatest writer in English. He wrote his masterpieces after the turn of the 17th century.
Acrylic paint used for art projects dries much faster than oil-based paint.
Acrylic paint is a water-soluble opaque medium. Acrylic paint is often compared to oil paint, because of the similarity in appearance (once dry) of the two types of paint. From an artist's standpoint, the biggest difference between acrylic paint and oil paint is the drying time. Acrylic paint, when not mixed with water or agents, dries within minutes. Oil paint takes days or weeks to dry. This may seem like a minor difference to someone who has never painted, but anyone who has used these mediums can attest to the great difference the drying time makes.
Instructions
1. Set up your materials in a place where you can work undisturbed. Draw the basic structure of your painting on the canvas before laying out your paints on the palette. If you will be painting off of a picture or a sketch, place it within view of the easel. Once the paint has been put on your palette, you'll want to use as much time as you can painting rather than setting up or planning for your painting. Remember, it will not take long for your paint to dry on the palette, and once that happens, the paint has been wasted. Unlike some mediums like watercolor, acrylic paint cannot be re-hydrated into a paint-worthy state.
2. Paint a thin wash of color onto the canvas. Use a medium-sized paintbrush, relative to the size of the canvas. This first layer should be the most basic colors for the subject on the canvas -- no highlights, shadows or small details. When you are finished with the first layer of paint, either rinse the brush to be used again, or put the brush bristle-down into the jar of water to prevent the paint from drying on the brush.
3. Paint a second layer of paint on the painting. At this point you may start to develop some very large shadows and highlights in the painting. If at all possible, avoid painting shadows with black. For a shadow, use a darker hue of the same color (for example, the shadowed side of an apple may simply be a darker red than the side in the light), or use colors like blue, green or brown. Highlights can be created by adding white, yellow or light blue to the highlighted parts of the painting. You may wish to experiment in order to find the highlight color that looks right to you. Feel free to experiment with different techniques, because acrylics dry so quickly that you can easily cover up any mistakes with the next layer of paint. Look off of the sketch or photograph that you are painting from as you build up paint. Flick your eyes back and forth between the photograph or sketch and the canvas, comparing the colors and forms. Keep in mind as your painting develops that it will not look exactly like the example you are painting from. In fact, it will likely not even resemble your expectation.
4. Paint a third layer of paint on the canvas. At this point, you should begin to address details on the subject. Start to use smaller paintbrushes. Continue to flick your eyes back and forth between the photograph or sketch and the painting. You may have started to notice that the fast drying time of acrylic paint is preventing you from blending some of the details, highlights, and shadows to your liking. You can handle this one of two ways. You can either try to keep the paint wet for a longer time(by thinning the paint with water, mixing the paint with acrylic retarder or spraying the painting with a light mist of water) or you can adjust your painting style to the medium and learn to appreciate a choppier, rougher form. Many artists throughout history have needed to make concessions for their medium. Learning to deal with the reality of your medium will strengthen you as an artist.
5. Continue to add layers of paint until the painting has reached a stopping point, even if you are not sure that it is completely finished. Put the painting away and wash your brushes very thoroughly. Paint left on the brushes will ruin them.
6. Leave the painting for a while. Don't look at it for days, or even weeks. You'll want to return to the painting when you feel that you can look at it with a fresh perspective. Look for errors or weak places in the painting--that is, areas that you feel don't fit in the painting, or that stand out as looking "wrong". If you're not sure what is wrong the painting, but you feel that it needs improvement somehow, try turning the painting upside down. This is an old trick many artists use. By turning the painting upside down, you'll see irregularities in the form and places where details have been misaligned. When you do this, the balance of color (or lack thereof) will also become apparent. Make changes as necessary.
Ancient Egyptian wall paintings inspire much of contemporary Egyptian art.
Historians, archaeologists and anthropologists pore over ancient Egyptian artwork to learn about the people and culture. Contemporary Egyptian artists borrow from traditional work of their ancestors, but put a new spin on the classic work. Designs are also popular in Egypt, with colors, lines and images that draw from the historical works. When exploring contemporary art and Egyptian styles, it is fair to look widely at all of the artists' work -- from ultra-modern to traditional -- for a peek into Egyptian style.
Eye of Horus
The image of Horus' eye has become a staple in contemporary Egyptian art interior design and style. The all-seeing Eye of Horus, an almond-shaped eye with an extended hook, like the beginning of the face, was a symbol of protection in Ancient Egypt. The Eye appeared in amulets, sculptures and wall murals in the New Kingdom. The attractive shape and simple lines of the Eye make it an aesthetically pleasing feature in contemporary homes, jewelry, clothing and fine art. Contemporary Egyptian style paintings, clothing, sculptures and plaques show the alluring all-seeing eye, either in bright colors or in tan-and-black earth tones. Some believe the Eye of Horus still brings safety, here and in the afterlife.
Wall Murals
Contemporary Egyptian murals borrow from ancient traditional artwork. Ancient Egyptians painted murals inside tombs, palace walls and on the interior walls of their homes. The large, colorful, often gilded paintings depicted the sun god Ra, pharaohs, gods such as Anubis, god of the underworld, and depictions of sacred rituals and ceremonies. The same depictions can be found on murals in homes across the world, sometimes in small versions, or on tapestries in bedrooms. Paintings also display the mural-like images, including hieroglyphics.
Papyrus
Papyrus paintings and paper products are a contemporary art media borrowed from ancient Egypt. Ancient Egyptians created the first paper material from the fibrous stem of a water-based plant. It was the first material used for documents. Contemporary art galleries showcase modern artists using the papyrus material for provocative, ancient looking paintings and word-and-image works.
Sculptures
Egyptian style sculptures often mimic ancient Egyptian artwork, such as pharaohs, the sun-god Ra, or Horus, the god of the sky and sun. Horus, in the shape of a falcon, appears in contemporary Egyptian art in traditional replicas of the ancient version or as a modern interpretation, often carved out of cold-cast resin. The sculptures fill galleries and modern homes.
Egg tempera was the most common paint in the Middle Ages.
While medieval painting was primitive in many ways, it stands out even today for its use of brilliant, jewel-like colors. Artists used pigments bound with several different substances to produce bright, long-lasting works. The most common medieval paint types were more difficult to use than modern oil and acrylic paints, making the beautiful images that still endure from that time period even more impressive.
Egg Tempera
Egg tempera was the medieval paint of choice for illuminating manuscripts and painting panels coated with plaster gesso. A simple mixture of ground pigment and egg -- usually the yolk, but sometimes both the yolk and white -- is thinned with water. Tempera dries very quickly, making it unforgiving of an artist's mistakes. It produces a brightly colored, matte finish that is slightly lighter hued dry than wet. Because the paint cannot be easily layered or blended, the artist must produce shading with fine hatch marks.
Glue Paints
Artists in China used a mixture of pigment and animal glue to paint on paper during the Middle Ages. The glue acted as a binder, performing the same role as the egg yolk in egg tempera. Common types of glue included fish glue, ox glue, stag-horn glue and donkey hides. In addition to binding the pigment particles to one another and to the paper, the glue acts as a protective coating against the harmful effects of environmental exposure.
Fresco Painting
Fresco painting uses pigment dissolved in water, applied to a wet plaster surface. When the plaster dries, it chemically fixes the paint. Fresco painting is visually striking, but logistically difficult, since all of a given area must be painted in one sitting before the plaster dries. The artist Giotto pioneered fresco painting during the late Middle Ages, but the art form did not gain real prominence until the Renaissance.
Oil Paint
Oil paint was invented in the 7th century in Afghanistan, and made its way slowly westward across Europe during the medieval period. Though it did not become widely available until the Renaissance, when it quickly replaced egg tempera as the preferred medium, Jan van Eyck mixed paints using an innovative combination of oil and egg to produce his masterpiece, "The Arnolfini Portrait," in the final years of the Middle Ages.
Roman art had a significant influence on Western culture, in part because of the longevity of the Roman Empire and the amount of territory that the Empire encompassed. Roman art is often criticized for being too dependent on the Greeks. While this is true in part, Roman art and artists made significant advances in different aspects of art and architecture. The rebirth of art in the Western world occurred in the Italy during the Renaissance. The artists of the Renaissance were greatly influenced by their Italian predecessors.
Influences
The art of the Roman Empire was heavily influenced by the Etruscans, Rome's predecessors on the Italian mainland, and by the Hellenic influences of the Greeks. The Romans not only directly imitated and copied Greek artistic ideas, Greek artists were brought to Rome and relied upon to design and repair monumental buildings. The Greek influence was very predominant in Roman painting and sculpture.
Painting
Roman painting served mostly a decorative function. It was influenced by the architecture of the time. Roman buildings tended to have a small number of doors and windows. This left large amounts of wall space. Painting techniques were developed to enhance the walls and to make the living space a more comfortable dwelling. Romans refined the technique of painting mosaics and murals and emphasized natural themes such as landscapes and narrative themes drawn from literature and mythology. The primary colors used in Roman painting were deep red, yellow, green, violet and black. The best preserved examples of Roman wall painting are Herculaneum and Pompeii.
Portrait Sculpture
Roman art also made important strides in sculpture, which can be divided into statues and relief sculptures. The Greek influence is strongly felt in Roman statues, and, in fact, many Roman statues and sculptures are copies or interpretations of Greek sculptures. However, many Roman sculptures are characterized by their realism. Greek statues tend to idealize the human form. Roman sculptors, on the other hand, presented realistic representations of their subjects with all their flaws.
Relief Sculpture
Relief sculptures were works of art carved on long pieces of stone or on the side of buildings. They were created both as decoration and as a tool to record and celebrate an important event. The size of the relief was dependent on the location and purpose for which it was intended. The relief sculpture was either a collection of figures used to represent a sequence of events, or it was intended to represent one significant event or occurrence. The wall was used as a space in which figures appear and disappear. The sculpture changed with the perspective of the viewer.
was an American illustrator and painter whose popular works often depicted everyday people and current events. He used a variety of mediums for his magazine covers and illustrations, books, calendars, murals, advertisements and portraits.
Sketches
Once Rockwell had an idea, he drew quick sketches (no larger than 6 inches) with a soft pencil on paper.
Rough Drafts
Next, Rockwell worked with charcoal (he preferred Fusains Rouget No. 3) on architects' detail paper (which was slightly raised, so he smoothed it with a kneaded eraser). The paper size was the same size as his final painting.
Final Painting
Then Rockwell used architects' tracing paper to transfer his final charcoal drawing onto a double-primed linen canvas or sometimes a wood panel. His paints were oil, particularly Winsor and Newton, mixed with Grumbacher's Oil Medium No. 2, using turpentine to further thin the colors. His favorite brushes were Rubens' long bristle flat brushes, and he occasionally used sable brushes for details.
Sources for Rockwell's Illustrations
Rockwell often drew directly from a setup of live people (usually from his own neighborhood) and background pieces (found anywhere from flea markets to auctions). Later in life, he had his sets photographed and then worked from the 8 by 10 prints.
Other Materials
When Rockwell traveled, he used ink, oils and watercolors. Many of his book illustrations and other black-and-white images were made with Wolff crayons (carbon pencils).
Marinating the ribs overnight makes them tender and flavorful.
Baby back ribs are pork ribs that are traditionally barbecued or baked with barbecue sauce or a dry rub. They are quite tender and can be eaten with your fingers. When purchasing ribs to make at home, look for a meaty rack that has little fat on it. Using your favorite barbecue sauce you can easily create restaurant-quality baby back ribs in your oven.
Instructions
1. Tear off a large piece of aluminum foil for each rack of ribs that you will be cooking.
2. Spray each piece of aluminum foil with cooking spray.
3. Wash the ribs under cold water and then pat dry.
4. Use your fingers to rub your favorite dry rub mix onto the ribs.
5. Brush some of your favorite barbecue sauce onto the ribs.
6. Wrap each rack of ribs tightly in aluminum foil.
7. Place the ribs in the refrigerator and let them sit for at least 8 hours.
8. Preheat the oven to 300 degrees Fahrenheit.
9. Place the ribs in the oven and bake for 2 1/2 hours.
10. Remove them from the oven and add more sauce if desired.
Georgia O'Keeffe was a famous American artist best known for her paintings of flowers and her paintings inspired by the terrain of northern New Mexico.
Biography
Georgia O'Keeffe was born on Nov. 15, 1887. She first exhibited her artwork in New York in 1916. O'Keeffe married famed photographer Alfred Stieglitz in 1924. They lived and worked in New York. In 1949, O'Keeffe moved to New Mexico. She died in 1986.
Location
Georgia O'Keeffe's location had an effect on her art. When she lived in New York, the hard-edged forms of the city architecture inspired her abstract paintings and drawings. Attracted by the desert landscape, O'Keeffe began traveling to New Mexico to paint in 1929.
Subject Matter
Just as O'Keeffe's artwork from New York depicts skyscrapers, her paintings from New Mexico depict the desert landscape, rocks and animal bones. O'Keeffe made many paintings of flowers at the same time as she was painting skyscrapers.
Media
O'Keeffe primarily created two-dimensional works. Throughout her long career she painted on canvas, Masonite panel and paper. Her first exhibited works were charcoal drawings. In the mid-1970s, O'Keeffe began making pencil and watercolor works as well as clay sculptures.
Style
Georgia O'Keeffe was a modernist painter whose work is a blend of abstraction and representation. Some paintings depict natural objects, such as flowers and shells, at such close range that they almost seem completely abstract.
Dragons are imaginary creatures found in the ancient mythologies of several cultures, including those of China and West Europe. Popular lore of Western culture usually portrays dragons as enemies of humanity, though China's dragons are essential creators and sustainers of human life. Features commonly found on dragons in popular media typically include those found on extinct and present-day reptiles: forked tongues, teeth like stalactites and batlike wings.
Instructions
1. Form the head, as seen in an oblique (indirect) front view. Draw an upward-pointing triangle with sides that are roughly equal. Make the triangle about 3 inches wide, as measured from its left to right point.
2. Complete the head with another equal-sided triangle slightly to the left of Step 1's triangle. Make this triangle much smaller than Step 1. Draw lines connecting the corresponding points of both triangles.
3. Form the lower mandible. Draw a slanted oval whose bottom left is slightly below Step 2's triangle and whose top right is the bottom of the dragon's head. Slightly under the oval, draw a curve that connects the oval's extreme left and right edges.
4. Draw several upward-pointing triangles for teeth whose bottom is the oval outline from Step 3.
5. Make the forked tongue. Slightly to the left of the lower mandible, draw an upside down V. Draw curves that flow from the V's bottom points into the mouth.
6. Create the eye. Draw a small oval slightly under the top point of the head's largest triangle (from Step 1). Draw the eyelid as an upside down V whose top point is just above the oval. Flow an upward-bowing arc connecting the V's left and right point and cutting across the upper portion of the eye oval. Draw a small, filled oval inside the oval to create the eye's pupil.
7. Draw three small curves to form ears that begin just to the right of the top point of Step 1's triangle and flow slightly up and to the right. Make two of the curves end at the same point. Make the third curve end slightly left of this point, at the lowest of the first two curves. This action creates a sense of 3-D depth. Create the left ear as a mirror image of the right, on the left side of the head.
8. Create the body. Draw a large teardrop shape whose top, which should be open, is the center of the lower mandible.
9. Make wings. Draw a large, downward-pointing triangle whose two left-most points attach to the body. Place the right point several inches to the right of the body. Mirror this triangle on the left of the body. But, compared to the right wing, leave less distance between the triangle's left point and the body.
Priming a canvas is necessary before beginning the painting process.
Store-bought canvases are typically sold stretched, "sized" and primed and ready for an artist to use. Sizing is a thin substance that creates a separate membrane to keep oils in the paint from entering the canvas fibers; without sizing, the oils would cause rot. Priming creates the surface for the paint and can have different degrees of absorbency, which will affect applied paints' drying time and the overall appearance of the painting. Follow the steps outlined below if your store-bought canvas has not been sized and primed, or to add additional layers of priming for a smoother, more absorbent painting surface.
Instructions
Sizing
1. Combine 1 tbsp. of rabbit skin glue crystals with enough water to cover in a glass jar. Wait until the contents have doubled in volume, about 20 minutes.
2. Fill the jar three-quarters full with cold water and place on top of the jar lid in a saucepan containing warm water. Place the saucepan on stove or hot plate and let crystals dissolve over low, gentle heat for approximately 30 minutes.
3. Remove the jar and saucepan from the heat and allow the sizing to cool until it has the consistency of jelly. If the contents are too solid, reheat and add more water, then allow sizing to set again.
4. Return the jar of sizing to the saucepan filled with water and reheat until once again dissolved. Apply the sizing to the canvas using a bristle brush, working from the edge in one direction only. Cover the entire surface of the canvas uniformly, then allow it to dry flat for several hours.
5. Apply a second coat of sizing in the opposite direction to the first and allow the canvas to dry completely before proceeding.
Priming
6. Reheat the sizing in a water-filled saucepan over low-heat. Add gesso powder to the sizing and mix until the consistency is that of thick cream.
7. Apply the gesso primer to the canvas using your bristle brush. Cover the surface of the canvas entirely in a smooth, even layer of primer.
8. Lay canvas flat to dry. Apply additional coats of primer to the canvas depending on your desired smoothness and absorbency. The more coats applied, the more absorbent the surface will become.
9. Sand the surface of the dried canvas lightly with sandpaper to smooth out any bumps and brush strokes in the priming.
Kandinsky is one of the most significant artists of the 20th century.
Wassily Wasilyevitch Kandinsky was born on Dec. 16, 1866, in Moscow. He was brought up in Odessa, where his father ran a tea factory and studied law at Moscow University, where he later became a professor. In 1896, after visiting an exhibition of French Impressionists, Kandinsky decided to become a full-time painter. He left Russia for Munich and studied art with Frank Stuck. He then spent five years traveling round Europe, painting, exhibiting and discovering colors, techniques and materials. Kandinsky became a key player in the evolution of abstract paintings.
A Study
At the Guggenheim Museum in New York City, an in-depth study of Kandinsky's techniques and materials was carried out by senior conservator Gillian McMillan. The findings appeared in the catalog for a major Kandinsky exhibition that celebrated the museum's 50th anniversary. Along with fellow conservators, samples of six iconic Kandinsky paintings were taken and analyzed. X-rays were used to determine the materials and binding media Kandinsky employed.
1896-1914
Kandinsky's early works were landscapes based on spots and lines of color. He painted with oils, either on canvas or cardboard, but he also used gouache ("Song" 1906) or tempera on cardboard ("Arab City" 1905). In 1911, he established a group called Blue Rider in which, according to the artist, "the accent was made on revealing associative properties of color, line and composition." An example of this period, Composition VII, is on display at the Moscow State Tretyakov Gallery, and is oil on canvas.
1914-1921
When World War II broke out, Kandinsky was forced to leave Germany and return to Moscow. He worked with the People's Committee of Education and as professor of art he designed a special curriculum based on color and form. He diversified into watercolors ("Bagatellen" 1916) and even painted on glass ("Two Girls" 1917) but by 1921, socialist ideals forced him to leave Russia and his art was banned.
1922-1944
Kandinsky returned to Germany and joined the Bauhaus movement. He introduced geometrical designs and circles into his work, ("Compositions VIII" 1923) but most frequently painted with oils onto canvas or cardboard. In 1931, the Nazi party declared his paintings "degenerate" and he was forced to move to Paris. Kandinsky was isolated in Paris and his paintings reflected this. Instead of primary colors his palette became subdued and chaotic designs became geometric. His favorite materials continued to be oil on canvas or cardboard.
Norman Rockwell painted idyllic scenes of life in America.
Norman Rockwell (1894-1978) was an American artist who painted idyllic and iconic scenes of life in America, creating some of his most famous works during World War II. He is best known for his cover illustrations for "The Saturday Evening Post," for which he painted 322 covers over 47 years. The majority of his paintings are oil on canvas or board.
Oil Paintings
The majority of Norman Rockwell's completed works were created using oil paint, rendered on canvas or board. Rockwell generally used Winsor & Newton oil colors, with a primary palette of 14 colors. His medium was rectified turpentine and Grumbacher's Oil Medium #2. Occasionally, he also used Shiva paints -- with a 13-color palette -- and their artist's medium.
Charcoal Sketches
Most of Rockwell's oil paintings were preliminarily developed by sketching his models and scenes using charcoal. In some cases, he would sketch while viewing the models; in other cases, he would take photographs, then render his charcoal sketch from the photograph.
Color
Norman Rockwell used oil paint as a powerful medium to communicate a scene exactly as he saw it. The oil colors he used, therefore, were extremely literal. If a subject's shirt was red, he painted it red. While his earliest illustrations were rendered in black, white and a single color -- most often red -- he later adapted to a much broader palette, mixing his own colors from a basic palette.
Hyperrealism
One of the most famous elements of Norman Rockwell's work was the extreme level of realism he was able to obtain using oil paint. He did so by literally constructing every scene from the ground up, buying, borrowing and posing every element of the scenes he was creating. While painting came easily to Rockwell, it was in the charcoal step of his process that he struggled most to create a picture that perfectly represented his scene. He would often create full-sized detailed drawings, on architect's paper, which he would then transfer to his canvas using tracing paper, then fill in using oil paint. Eventually, he adapted technologically by using a balopticon -- a photographic projector -- to create scenes on the canvas using charcoal.
William Adolphe Bouguereau was a classically trained French painter born in 1825, died in 1905. An Academic painter, Bouguereau trained at the Ecole des Beaux-Arts in Bordeaux and Paris. During the course of his incredibly successful career, Bouguereau was highly sought after by wealthy art patrons. However, despite his technical facility and notable popularity, Bouguereau's work slipped into obscurity for many decades after his death because of its retroactive, anti-avant garde aesthetic. In recent years, prints of his work have become commercially available due to a resurgence of interest in his work.
Instructions
1. Choose your subject. Bouguereau's work covered a limited range of subject matter. He painted women almost exclusively, and within that category, he painted classical images of goddesses and portraits of women and female children. Portraits were often positioned out-of-doors, and subjects were usually barefoot. His female subjects had large, entrancing, dark eyes, somber expressions and half curly/wavy hair in long tresses. Female portraits frequently featured accessories for the subjects, such as water jugs, sewing projects, gardening tools and fruit. Although this type of painting is distinctly 19th century, and might seem strange placed in a modern context, these are important distinguishing characteristics and should not be ignored. Figures should be somber and beautiful, and portrayed in an idealized, romanticized setting. You should be painting from live models or photographs.
2. Draw the subject on your canvas before beginning to paint. The subject should be centered and facing the viewer. Bouguereau was technically very skilled and his paintings were usually flawless in their portrayal. In order to successfully reproduce his style, one must be technically very proficient. To perfect your technique, you'll need to practice drawing figures in a highly realistic manner on your own.
3. Paint your first layer of paint on the canvas. Use a medium-size paint brush and quickly lay down a layer of paint that is thinned with paint thinner. This layer is put on the canvas only to get the painting started--although you should try to stay within the lines of the outline you drew on the canvas, it will not be entirely accurate. It will be corrected later. Use natural, earth tones.
4. Switch to a smaller paint brush. As you continue to put paint on the canvas, you will start utilizing small detail brushes. Mix paint for the highlights and shadows on the canvas. Highlights should be made by mixing the colors you've already used with white, while shadows should be mixed with natural dark colors like blue and brown, but not black (unless the object in shadow is black or gray). Flick your eyes back and forth between the canvas and the photograph or live model that you're painting from. Compare the two images constantly, looking for inconsistencies and inaccuracies. As you add additional layers to the painting, smooth the paint on your canvas with your paintbrush. You should not be able to see any paint globs or brush strokes in the finished product.
5. Set the painting aside when it becomes too wet. You'll know it's too wet when you can no longer paint on the canvas without muddying the color. Oil paint takes days to become superficially dry. Once the painting is superficially dry (meaning, your fingers do not smudge the paint when they touch the canvas), you may add more layers. Continue to flick your eyes back and forth between your model or photograph and the canvas. If you're having a hard time identifying errors, even when you think the errors are there, try turning the painting upside down. This should give you a fresh perspective. Continue painting sessions until you feel the painting is complete.
Victorian art hangs in galleries around the world.
The Victorian era in Britain stretched from Queen Victoria's ascension to the throne in 1837 to her death in 1901. The art styles of the period ranged from the later years of Romanticism to the Impressionist and Post-impressionist style, before the arrival of Fauvism and Expressionism. The unique style of the Pre-Raphaelites is one of the most popular and memorable of the Victorian art styles.
Romanticism
Some artists had a romantic attitude toward nature.
Although true English romanticism began as far back as the 1750s with Gainsborough, J.M.W. Turner began painting his romantic landscapes in the Victorian years of the 1840s, such as his "Steamboat in a Snowstorm." With his "Approach to Venice," in 1843, Turner's use of light romanticized his landscapes and verged on impressionism.
The Pre-Raphaelite Brotherhood
Pre-Raphaelite artists used bright, garish color.
One of the most famous art movements of the Victorian age was the group of English artists know as the Pre-Raphaelites. Originally a secret group, their style was a reaction against the "frivolous art of the day," according to Sister Wendy's "Story of Painting." Their aim was to paint in a more natural style, from direct observation. The seven painters who comprised the movement, were in direct opposition to Raphael's more theatrical style of art during the Renaissance, and wished to recapture a previous style.
The brotherhood's romantic and religious subject matter, painted in such a realistic style, outraged the art world until after the 1850s. Shakespeare's plays were a huge source of inspiration for many of the Victorian artists, especially the Pre-Raphaelites. A famous example is "Ophelia" by Sir John Everett Millais in 1851. The Pre-Raphaelites' work differed from other artists in their use of bright color painted directly onto a canvas prepared with white paint. Sir William Holman Hunt's painting of 1852, "On English Coasts," is full of strong, bright color.
Impressionism
The impressionist art style has remained one of the most popular.
The great age of impressionism began around the middle of the Victorian era and was particularly famous amongst French artists. The American artist, James Whistler eventually moved to London and used a combination of the Realist and Impressionist art styles to create his own original paintings. His "Nocturne in Blue and Gold: Old Battersea Bridge" was painted in between 1872 and 1875.
Post-Impressionism
Post-impressionism was a late Victorian art style.
Roughly covering the Victorian period from 1886, to the early 20th century, Post-Impressionist artists employed a diverse style that relied on an objective view of the world and how they felt about it. Vincent van Gogh used a variety of colours to try and convey emotions in his paintings. "The Artist's Bedroom," 1889, contains two chairs near the bed, as though he awaited the arrival of a friend. His "Self-portrait" of 1889 hints at his unhappiness, while his chaotic emotions are depicted in the swirling blue paint strokes.
Chalk pastels have the look and feel of chalk, but are softer and brighter.
Having the proper paper for chalk pastels is important so you can achieve the best results. There are many potential papers to choose from, and all artists have different preferences. However, there are various types to look for when working with chalk pastels, or sticks of powdered pigment that are held together with a binder. Chalk pastels are soft and easy to apply, making them appealing for artwork, especially fast work.
Textured Paper
When an artist uses a pastel stick on paper, it leaves behind a fine powder, which is the pigment that forms the stick and gives pastel its defining look. This effect is harder to achieve with smooth papers, so an ideal paper for chalk pastels has some texture to it. The texture not only helps to grind away small amounts of pigment from the stick, but it helps to hold the pigment to the paper. Watercolor paper, although not designed for pastels, is often textured enough to be suitable for use with pastels.
Acid-Free Paper
Though paper can be made from any plant fiber, most papers are made from wood pulp, which is acidic. Acidic paper degrades and becomes brittle over time, which is a problem for artwork. Thus, art paper needs to be acid-free, especially when dealing with chalk pastels. Acid-free paper has a pH of around 6 or 7, so some papers labeled "acid-free" are slightly acidic. Similar to acid-free papers, there are also "conservation-grade" and "museum-grade," or "archival," papers. "Conservation-grade" papers are acid-free, made from wood pulp and contain chemicals that act as pH buffers. If a paper is labeled "archival" or "museum-grade," it is made from cotton, which contains no acid. Papers made from linen and rag also have low acidity.
Lignin-Free Paper
Lignin is a chemical found in wood. In a plant, its purpose is to hold the plant fibers together. In paper, it creates a tan hue that can be attractive and desirable. However, lignin deteriorates, becoming brown or yellow and acidic over time. High-quality art papers have the lignin removed chemically to prevent this eventual deterioration. Cotton and linen papers naturally have low or no lignin, and for chalk pastel use, this is very important. The appearance of chalk pastels change depending upon the paper, so a white paper that becomes yellowed will permanently alter an image.
Other Considerations
While the most durable, longest-lasting and most suited paper for chalk pastel is paper made from cotton, linen or high alpha cellulose -- or wood pulp with long, durable fibers -- there are many reasons why you would not want to use such a paper. For instance, chalk pastel is typically used as a sketching medium, and using high-quality paper is unnecessary for sketches. Rough papers are more efficient, but smooth papers result in a smoother appearance. Chalk pastels also have interesting effects on colored papers. Because different kinds of paper yield such different results, artists who work with them often experiment with many different kinds of surfaces to get the desired look.
Creating an effective event press kit will drive media interest.
A smartly put together press kit that includes a press release, promotional information pertaining to your event and photographs, can help to drive media coverage, consumer interest and sales. Putting together an event press kit that garners media attention takes team work and a few simple steps.
Instructions
Things to Include
1. Decide on the message you want to send before assembling the press kit. Ensure that the message is clear to all members of the team and approved by the department manager. There might be multiple initiatives involved in the same event or project, therefore it is imperative that the precise materials are chosen to generate the desired response.
2. Complete a press release that describes the event or project and what it will accomplish in terms of donations, programs, sales, etc. If the press release is longer than one page, write -MORE- at the bottom of each page. At the end of the last page, type ###. Ask for media coverage in your release.
3. Include a document that gives a brief history and description of the organization, along with information on the organization's Board of Directors. The organization's contact information should be shown via the company's letterhead and included again at the bottom of the document, along with the contact information for the point person responsible for media outreach or public relations.
4. Include written information pertaining to the event or project. If an itinerary or agenda was created for the event, include it in the press kit. Include any news articles printed about the event or project as well as flyers or internal information that was created to generate excitement or participation.
5. Compile high quality color photos or artwork related to the event. If a website has been established, let the recipients know that they can download additional photos from the site. Remember to include the website address. Place all paper documents in a new folder; keep the aforementioned materials in the order they are listed above.
6. If any tangible items correspond to the event, such as items for sale or promotional mascot, include them in the event press kit. Larger items should be shipped in a box, in addition to the folder containing the paper documents.
7. A more technologically advanced version of the event press kit is an electronic press kit. An electronic press kit, commonly referred to as an EPK, online kit or media kit, is distributed to the media in electronic form. An electronic press kit reduces lead time and allows the recipients access to the information with a few clicks of the mouse.
Alfred Adler is one of psychology's grandfathers next to Sigmund Freud. His contributions can be traced to many of today's widely used therapeutic methods. Alfred Adler was a major contributor to the psychodynamic approach that relied on shared goals between client and counselor.
Instructions
1. Determine if the client can benefit from the use of Adlerian therapy. Ascertain whether it would be the best course of treatment or if something more rigorous or hands on would be appropriate.
2. Learn as much about the process of Adlerian therapy as possible before attempting to facilitate it. Watch a colleague use Adlerian techniques. Take extensive notes during the process so that you are comfortable and understand it.
3. Set goals with your client for recovery about issues the client needs to work on. Collaborate with your client and identify faulty assumptions and mistaken goals.
4. Listen to your client's story with empathy and compassion. Educate your client on new ways of looking at yourself, others and life. Try to foster social interest, overcome feelings of discouragement/inferiority and change faulty motivation and valued societal contributors.
5. Encourage insight in your client, being supportive but also confront her. Use interpretation of her distorted thinking and behavior to help reframe it to work with her value systems more effectively.
6. Reorient his behavior as well as his thinking. Offer possible cognitive changes that need to be made, like taking calculated healthy risks and self reflective homework assignments. Guide the client without offering straightforward advice. Allow him to find the solution by challenging distortions.
Jasper Johns is an American artist who is given credit for paving the way for such artistic categories as minimalism and pop art. Johns used simple objects like maps, flags and targets to cultivate a polarizing following in the American art scene, a following that made him well-known, and, eventually, well off financially. Robert Storr of Yale University recently told the New York Times that John is "one of the most important artists of his generation."
Youth
Johns was born in Augusta, Georgia, in 1930, but grew up in Allendale, South Carolina. Johns at one time told PBS that he was always interested in art, but his small town didn't provide him outlets to either view art or interact with other artists. While he did attend the University of South Carolina for a brief time, Johns eventually pulled up stakes and went to New York City.
Getting Into the Scene
One of Johns' first jobs in New York City was at Tiffany's, where he created window displays with another young would-be artist, Robert Rauschenberg. The pair explored the NYC art scene together, and on a trip to Philadelphia Johns viewed Marcel Duchamp's painting, "The Large Glass." In it, Duchamp used ready-made objects and presented them as art. The painting had an influence on Johns' later work.
Early Work
Johns began producing paintings of flags and numbers, a subject matter that left some art goers unimpressed. The work looked serious, but the subject matter itself wasn't. Johns later said that he was partially inspired by Austrian philosopher Ludwig Wittgenstein, who wrote about the construction and breakdown of logic. Johns would say that he was trying to, in his own way, understand logic.
The Benefactor
Leo Castelli became the man that would bring Johns' work to the masses. Castelli, a gallery owner, visited Rauschenberg's studio in 1958, where Johns was also working, and became enamored with Johns' work. Castelli arranged for a showing at the Museum of Modern Art and Johns sold three paintings to the MoMA during that showing. From there, Johns was a player in the NYC art scene.
Branching Out
Soon after, Johns began working in printmaking, and his innovations in such areas as screen printing, lithography and etching are well recognized. In the 1960s, he introduced sculptural items into his paintings, starting with simple objects like paint brushes and eventually graduating to collages with more complex objects. At the same time, he collaborated with some of art's leading minds, such as Andy Warhol, Robert Morris and Bruce Naumann. He also illustrated books for poet Frank O'Hara and author Samuel Beckett.
The Money Man
Johns is recognized for selling more art that any living artist. According to the New York Times, the Whitney Museum of American Art bought Johns' "Three Flags" for $1 million in 1980, considered the highest price ever paid for the work of a living artist at the time. "False Start," painted in 1959, brought $17 million at an auction at Sotheby's in 1988. Johns took the title again in 2006 when David Geffen, a Hollywood producer, sold "False Start" to Chicago businessman Kenneth C. Griffin for a record $80 million.