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Painted Pet Portraits Offer Enjoyment For Generations and a Good Art Investment January 14th, 2010

Author: Sal Lingo
Source: ezinearticles.com

For Sandy Summers, her little Elvis meant the world to her. “Elvis has brought joy and companionship through a season of my life that was difficult,” says Ms. Summers. Having a close bond with Elvis got Ms. Summers thinking about preserving the relationship for years to come. She looked into original, painted portraits as an art investment.

“I researched oil paintings, but realized over time, they crack and even fade. So my choice was to find an artist that painted with pastels. Pastels are a pure pigment that do not fade, don’t crack, and hold their brilliance for generations. I also looked for an award-winning artist so that the painting, on it’s own, would hold its investment value in the art community.”

Getting a pastel artist to do your pet’s portrait can be the best bet by all means. A pastel is the buttery smooth pure pigment that produces brilliant color under all lighting conditions (think about where you would hang your painting). Another aspect that you can rely on is the time schedule within which the portrait can be completed. If you need the portrait done in a given time frame pastels offer quicker “drying” time, and usually a faster delivery. But expect at least six weeks.

Getting a painted pastel portrait done of our pets is a tangible way of showing our attachment and love for our dog, cat, bird, or horse. As a result, be sure that the portrait that one commissions of the artist reflects the true nature of the relationship that we share with our pets.

Ask if the artist works from reference photos, look at how realistic the work is… does it look photographic? Does the artist have a history of painting animal? Can they add backgrounds, or other pets, or people into the painting? Check on-line to select a oil or pastel portrait artist. Whether it is a pastel artist to commission your pet portrait in pastel or oil painting, there are only a handful of reasonably-priced artists that can bring alive the relationship that can be enjoyed for generations.

Cost is usually determined by several factors. If the portrait is to be of the pet only then the cost incurred would be lower. If the portrait includes the owner, or other pets, then the cost would be increase. Human skin and hair is a different process than painting animal fur. The size of the painting also determines the price. 11 by 14 paintings can be painted in less than time than a 24 by 36 inch painting. Finally the background… a simple out-of-focus color would involve less time than an interior, detailed background. Just be sure that the artist provides a quick thumbnail sketch to show you what their general idea might be.

In the end, you will be commissioning a one-of-kind original, hand painted piece of art that serves as an investment, a source of enjoyment, and a family heirloom for years to come.

For more information regarding pastel artist and Pet Portraits, please visit Nancy Conant

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Tattoo Designs – The Perfect Time to Choose One January 12th, 2010

Author: Paulo Vinagre
Source: ezinearticles.com

Will you risk the “health” and color brightness or duration of your carefully picked tattoo design? I almost bet that you, like so many people, don’t think that there really is a perfect time to get a tattoo done. And the time is now I tell you!

Why?

Think about it, it’s winter in most parts of the world and you won’t be able to go to the beach. You will always be stuffed with clothes protecting you from the sun, which is one of the major factors (among others) to take into consideration when taking care of your recent tattoo design.

It really is very important to avoid sun exposure if you want your art work to stay un-faded and clear as the day that it was done. Trust me. Ask anybody you know that have a faded tattoo about the time of the year they had it inked and they will most probably tell you that it was tattooed around spring and summer time.

That a very common mistake, yet understandable. Everybody wants to show their new tattoo design, right? And what happens? They walk around showing it of course!
But that decision leaves the recent tattoo pigments exposed to the sun, not letting them set properly on the skin, thus fading the design really fast.

I once made that same mistake with my first tattoo design. It’s an awesome ancient dragon design that covers almost all of the outside part of my right lower leg. It’s just awesome. Fine detailed lines, beautifully done shadows and white and red accents on claws and eyes.

It only has three years but it’s already in need of a bit of work. And all because I made it in the beginning of the summer. Being proud of it, I always wear shorts and now it shows. It’s a bit faded and not as good as it could be.

Don’t make the same mistake. Choose your tattoo design now and get it done before the summer time!

CLICK HERE NOW to see some awesome tattoo designs. Visit http://tattoodesignsz.com for tips, pictures, designs and more information.

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Learn to Paint with Oils – A Beginners Guide January 10th, 2010

Author: Ralph Serpe
Source: articlesbase.com

So you are beginning your journey into the wonderful world of oil painting? It can be a confusing process for beginners if you do not have someone to help guide you through the first steps. This article will provide you with all the necessary information that you need to get started. OIL PAINTING SUPPLIES The first thing you are going to need are your supplies. This first step may seem simple, but many beginners are lost when they first step foot into an art supply store. There are so many different materials to choose from and if you are not familiar with what you need, you may spend too much on supplies you don’t need or wind up not buying enough. Paints If you ask five different artists about the colors they have on their palette, you will more than likely get five different answers. The truth of the matter is, there are no right or wrong answers when it comes to the colors on your palette, it really is a matter of preference. You will definitely develop those preferences over time. In the mean time, I can share with you the colors that I often use: Alizarin Crimson Cadmium Red Light Cadmium Yellow Light Yellow Ochre Burnt Umber Raw Umber Cadmium Orange Burnt Sienna Thalo Blue Cerulean Blue Thalo Green Thalo Yellow Green Ivory Black Titanium White TIP: Whatever paint you decide to buy, try to stay away from paints that have the word “hue” on the label. These paints may be more economical, but they are of very low quality when compared to the real color. Hue paints are artificial pigments and they do not behave the same as the real pigment. Palette If you are not already familiar with a palette, it is basically the surface that you will use to lay out and mix your colors on. There are a variety of different palettes available. Everything from wood to glass are possible surfaces to use. My favorite surface to use as a palette is wood, but the surface is porous, so it will need to be sealed before you can use it. It is quite easy. All you need to do is coat the surface of the palette with mineral or linseed oil and wipe the excess off. It is then ready for your oil paints. Brushes Just like paints, an artists brush selection may differ from person to person. I personally use flats and filberts of varying sizes, but you may develop a preference for other shapes and sizes. My brush selection consists of #2, #5, and #10 Filberts, #2, #5, and #10 Flats – - all hog hair brushes. Hog hair brushes are strong, flexible and are great for use with oils. Supports There are a variety of painting surfaces, or “supports”, that you can use to paint on. Stretched canvas, canvas panels, canvas paper and even wood are all possibilities. I use canvas panels and paper for studies or practice and stretched canvas for my finished paintings. Again, this is just my preference and you are free to explore on your own. Other Supplies Some other supplies you will need are rags for wiping and cleaning, a palette knife for mixing your paints, a medium for thinning your paint and an easel. Caring For Brushes Learning how to properly care for your brushes is one of the most important aspects of oil painting. One popular approach is to use solvents like turpentine, but for some of us, this is not an attractive option as solvents can be dangerous to your health. I personally use mineral oil followed by a brush cleaner. I first wipe the brush as clean as possible with a rag. I then swish the brush around in mineral oil until most of the paint is removed. I then wash the brush with a product called MASTERS Brush Cleaner and Preserver. TIP: Always clean your brushes immediately after you have finished a painting session and never leave your brushes soaking in anything! It will destroy them. ORGANIZING YOUR STUDIO I know not everyone has the luxury of a professional studio, but try and do your best to create a productive environment for painting. Try and find a space in your home that is free from noise and distraction. Lighting If at all possible, use a room or space that has plenty of natural sunlight. If natural sunlight is not possible, you will have to use artificial light. There are special lights or bulbs called “Full Spectrum”, that are made to emulate natural sunlight. They do a descent job, but nothing compares to natural sunlight. Organizing Your Palette It is important to have a clean and organized palette during your painting sessions. This is done by laying your paints out the same way each time you paint. Lay your paint out on the edges of your palette leaving enough empty space in the center for mixing. Be sure to squeeze out a good amount of each of your colors before you start to paint. You will be more productive if you do not have to stop frequently to squeeze out more paint. When you are finished painting, be sure and clean the mixing area of your palette well, but do not fully clean the spots on your palette where you placed your colors. This way, you will be able to tell where to squeeze them out during future painting sessions. YOUR FIRST PAINTING So now that you have a general understanding of the supplies you will need as well as how to organize your studio, it’s time to starting thinking about your first painting. Painting Ideas Coming up with an idea for a painting can be a frustrating task and in order to find your painting “voice”, you need to find out what you are passionate about or what things in life influence you. Every artist has an influence, whether it be another artist, a place or thing. For instance, if you love nature and wildlife, spend time outdoors at the places that inspire you. Bring along a sketchpad or digital camera and record the scenes that catch your eye. If you have a particular artist that you admire, spend time studying his or her artwork. Try and reproduce their paintings.

Ralph Serpe is an artist and Founder of ArtInstructionBlog.com, which offers free lessons and resources on a variety of different mediums. For more information on how you can learn and master oil painting, visit us today!

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Intro to Black & White – Printing Paper Types January 9th, 2010

Author: Roo Du Jardin
Source: ezinearticles.com

Those of you, who are processing your own black and white materials, and passed the stage of experiencing the process, will at some stage want to select a suitable paper for your work. For the wet process the options are becoming less and less as digital photography takes a firm grasp on the industry. However, the same paper principles apply today as did a hundred years ago and you need to know these in order to choose wisely.

There are fewer papers on the market today and they are becoming more expensive as niche companies produce quality papers for an ever shrinking market. So with this in mind, find a paper you know will be available for years to come.

There are two main printing paper types on the market today and they can be simply described as fibre and resin coated.

A) FIBRE

When looking at fibre papers there are several characteristics to take into consideration:

1.Paper Base

The paper used for the base of photographic papers must be exceptionally pure. Photographic base paper is manufactured at special mills where the greatest care is taken to ensure its purity.

Before it is coated with emulsion, the base is usually coated with a paste of gelatin and a white pigment known as ‘baryta’ (barium sulphate). The purpose is to provide a pure white foundation for the emulsion giving maximum reflection. Baryta is chosen because it is a pure white pigment which is highly insoluble and without any harmful action on the paper.

2. Tint

The colour or tint of the paper base may be white or one of a variety of shades of cream. In general cream papers tend to give an impression of warmth. A white base may be used to simulate coldness and delicacy.

3. Chemistry

Bromide papers have as the main active ingredient silver bromide. This yields a cool neutral-black print but may be given warmth with special toning techniques.

4. Chlorobromide

Chlorobromide papers have both silver bromide and silver chloride mixed in the emulsion. The silver chloride content gives the print a warm tone. Combine this with a tinted cream base; a very warm print can be achieved without toning.

B) RESIN COATED (RC)

Many modern papers are not coated with baryta, but are coated on both sides with a layer of polyethylene and are known as PE or RC papers. This coating is impermeable to water, which prevents the paper base from absorbing water and processing chemicals. This results in substantially shorter washing and drying times than are required by baryta coated papers.

Those who want a quick result economically, and prepared to sacrifice quality to get it, generally favour RC papers. These papers require far less processing time than their sister paper, fibre. They also require less attention to chemical residue than fibre. These papers are by nature, much simpler to use than fibre.

Those wanting exceptional quality and permanence generally choose fibre paper over RC. Fibre costs more, and is more difficult and time consuming to use, but produces by far the best rendering of a photograph.

Fibre paper is the paper of choice for the creative, experienced black and white printer, who wants to achieve maximum performance from the paper. This paper tends to provide a more quality finished product than the resin coated.

Chlorobromide fibre is generally sought out by printers who wish to manipulate the print with toners and other chemicals for tonal variations and also for archival processing. Chlorobromide papers respond very well to both these applications.

The matter of choice rests with the individual and of course, printing skills and experience. Those wanting to achieve a certain feel or look in their prints, may choose one paper type over the other. They are both very individual papers and have very different characteristics and produce entirely diverse results.

Roo du Jardin is a photographer who runs an informational website about Online Photography Courses. Read some more tips, techniques and resources at Online Photography Courses blog.

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How to Get Rid of Your New Tattoo: Tattoo Removal Techniques November 24th, 2009

Author: Bob Marley
Source: articleage.com

A lot of people love their tattoos and keep them forever. But others decide a couple of years down the road that they really don’t like that rose on their ankle or snake on their bicep anymore. Or maybe that name that is tattooed on your arm is no longer valid, and needs to be changed? For centuries people have been following many traditional methods to get their tattoos removed.
Here, it is important to note that many cases of tattoo removal have resulted into scars, skin diseases and wounds. All this depends on several factors including size of the tattoo and its location as well as the length of time it has been on the skin.
There are several excellent methods of tattoo removal available today.
Laser treatment is one of the most common methods. Different wavelengths of light are used for different pigments. The laser beam passes through the skin and is absorbed by the ink. This causes the ink to break down so that it can be removed by the body’s lymphatic system.
Excision, where the dermatologic surgeon removes the tattoo with a scalpel and closes the wound with stitches (In some cases involving large tattoos, a skin graft from another part of the body may be necessary.
Dermabrasion is another removal method, which involves freezing the skin, then sanding the surface with an abrasive instrument. Because the pigments are located in the middle of the skin, pain, bleeding and or discomfort can be expected.
Salabrasion, in which a salt solution is used to remove the pigment, is sometimes used in conjunction with dermabrasion, but has become less common.
Surgical removal sometimes involves the use of tissue expanders (balloons inserted under the skin, so that when the tattoo is cut away, there is less scarring). Larger tattoos may require repeated surgery for complete removal.
Regardless of which method of tattoo removal is used, some scarring or color variations are likely to remain. And last but not the least – tattoo removal can be pretty expensive. Depending on factors like the size and design of the tattoo, removal can cost significantly more than the actual tattoo.
Bob Marley, a renowned tattoo artist shares his most sort out tips on tattooing to make it a memorable experience life long. Get to know more about Tattooing and Body Piercing at http://www.time4tips.com

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The Different Types of Pastels November 24th, 2009

Author: Emma Ralph
Source: ezinearticles.com

Soft pastels are by far the most popular and commonly used, and indeed they’re what people usually mean when they refer simply to ‘pastels’. However, the pastel family is larger than just soft and includes other different types of pastels. Read on to find out more about the mom, dad, and kids of this art medium family!

First of all, what’s a soft pastel? This is a pastel that is generally made from just two ingredients: pigment and a binder. Some even discard the binder and are simply 100% pigment. This makes them powdery, but also vibrantly colorful and easy to blend with each other to create different colors on the surface.

Hard pastels are just like soft pastels except they are made with a higher proportion of binder to pigment. This means that they hold an edge or a point better; allowing the artist to draw fine details and lines and do sketching work.

Pastel pencils are hard pastels in a pencil format. Their characteristics are identical to hard pastels except for their ‘packaging’, so as for hard pastels, they’re best used for sketching and for adding fine details to an artwork. The pencil format makes them easy to control, which suits their main uses well. They’re also clean to work with as you aren’t touching the pigment directly like you are with soft and hard pastels.

Most (if not all) artists who use soft pastels will also use either hard pastels or pastel pencils. This gives them the ability to switch to something better suited to the task when they want to add fine lines and details to their artwork, or when they’re sketching out their design prior to laying in the big areas of color. It’s not an ‘either-or’ thing. But the next two types of pastels offer something unique, and so are actually alternative mediums to soft pastels rather than something that complements them.

Oil pastels are essentially soft pastels with a different type of binder. While soft pastels are made with a gum binder, oil pastels use an oil-and-wax binder, and this changes their characteristics, making them soft and greasy rather than soft and powdery. They don’t blend as easily as soft pastels, but they can be built up on the surface in a kind of impasto style and moved around with a razor blade or craft knife. They reward a loose, passionate style without too much regard for precision. They’re very messy to work with and require turpentine to remove.

Water-soluble pastels are a relatively recent addition to the pastel family, and they provide a very interesting alternative. When dry they’re identical to ordinary soft pastels, but after laying them down on your surface as you would with soft pastels, you can then use a wet paint brush to finish the artwork using watercolor techniques. Particularly if you have experience with watercolors, this is a great way to blend the best things about two different mediums and create some really beautiful effects.

Emma Ralph is an experienced pastel artist. To learn more about the different types of pastels visit http://www.paintingwithpastels.com

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Learn Oil Painting – Basic Beginner Steps November 19th, 2009

Author: Bryon Zirker
Source: ezinearticles.com

Oil paint dries very slowly, Unlike acrylic paints which dry very quickly. Acrylic paint was initially created as an underpainting medium for oil painting.

It is perfectly stable to put a base of acrylic and then place oil paint over it. Linseed oil added to oil paint will extend color, increase flow and increase workability. Oil paint with added medium is called long, oil paint used directly from the tube is called short or stiff.

You place you oil paints on a wooden board called a palette the very best palettes are made of pear wood.

It is very important to understand your paints and know which colors are:

Transparent (see through) Semi Opaque (slightly see through) and opaque (not see through) getting started put as much oil paint on your brush for two strokes three maximum always end your brush stroke on the canvas.

Make sure that you use linseed oil only when you are painting with the wet on wet method or process.

Do not confuse yourself with all of the many other mediums. Wait to discover those when you are more experienced. If you can actually afford the professional paints, definitely go ahead and buy them. You will notice immediately that they are completely different from the student paints.

Always buy the best brushes that you can afford. The Da Vinci brand brushes are the best professional brushes. Buy long handle bushes. The technique is to hold near the end of the handle. When developing talent one point to consider is the ability to take risks. Just play around with your paint however first understand it, only paint at an easel and make sure to stand back from your painting all the time. Never put your expensive brushes in turps when you are working in a session. Go ahead and wipe them clean with paper towels or cloth wash out your brushes in turps or a similar solvent at the end of a session and then be sure to clean immediately with soapy water.

Preparing the canvas the foundation of you piece

It is quite essential that you put on the first underpainting or wash on your canvas. This takes away the glare of the white (which will reflect back at you, quite annoying) and the more layers of paint you get onto your canvas the better and the more professional looking your painting, the more luminous the paint ant the more the painting will sing out with color and texture.

Traditionally an earth color of a burnt umber or raw umber, raw sienna or an ochre was painted on as a good first underpainting. Sometimes it can be pretty exciting to paint on a bright red or dark blue as your first underpainting especially when you are in the habit of putting on three or four layers and seeing the underpainting come through your painting. Use a big wash brush to apply the first underpainting it you use acrylic as your underpaint it will dry quickly and get you started quicker.

How to apply oil paint in two methods

1. Wet on wet or All Prima (in one step)

2. Stage Painting or Glazing Fat over lean

Wet on wet is applied by using the paint stiff, which is directly from the tube Or thinned to the consistency of salad dressing with linseed oil the essential part of painting wet on wet is making your brushes and painting knives do the work for you.

You definitely want to have full control of your brushes and experiment with different brushes to see the marks and texture streaks that they make.

Never work with turps unless you are working with the glazing method.

Never ever stand your brushes in any turps working in your painting session.

Turps will burn the bristles and inevitably there will be some left in the brush when you start to use color.

This will make it difficult to keep control of the flow or thickness of paint. The glazing technique is a process of building up your painting in a series of layers of the thinned paint.

I found this specific method for the glazing technique with oil paint it is called fat over lean

A Lean 1st layer thinned with solvent

A Lean 2nd layer thinned with less solvent

A Lean 3rd layer thinned with less solvent

A Fat 4th layer straight from tube

A Fat 5th layer thinned with little linseed oil

A Fat 6th layer thinned with more linseed oil

It is very essential that you this process exactly follow or the layers of paint will dry at different levels and possibly crack the paint. Granted, it is a slow method and you absolutely need some patience however the results are spectacular tonal values which are essential in painting. This glazing method gives you full control of creating tones in acrylic paint. Here there is no mystery about paint.

Remember that paint is just pigment with a binder. In the case of oil paint, it is just a pigment with a drying oil usually linseed oil is used for this. The very best professional oil paints you will find are Michael Harding and Old Holland. Windsor and Newton and some other makes are good as well just make sure they are called professional paints and not the lesser quality student paints.

One last thing, Oil Paint dries very slowly, have patience and enjoy the journey. Paint on.

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Tips And Techniques For Colored Pencil Artists November 16th, 2009

Author: Ralph Serpe
Source: isnare.com

Colored pencils have become a very popular medium for budding new artists. Beginner artists using this medium find it much easier to express their creativity; mainly because of the control and convenience colored pencils offer. Other mediums like oil paint for instance, appear to present much bigger challenges for new artists. Working with colored pencil is a great way to get your creative juices flowing.

Let’s begin our exploration of the colored pencil medium by explaining some of the popular techniques many artists use.

Hatching: Hatching is basically the drawing of closely spaced parallel lines. You can vary the length, angle and spacing of the lines to produce different effects.

Cross-Hatching: First lay down strokes in a horizontal direction, and then overlap in a vertical direction, followed by a diagonal stroke.

Scumbling: Using a sharp pencil move in a circular motion with light pressure, and begin to overlap the circles as you move along. This technique requires a lot of time and patience but the final result is quite rewarding.

Burnishing: When you place many layers of color over another using a lot of pressure until the “tooth” of the paper is no longer able to hold pigment, resulting in a smooth surface. Do not apply too much pressure as you can break your pencil point or damage your paper. This technique works best when using a paper with a good amount of texture or “tooth”.

Shading: Use the side of your pencil and use back and forth sweeping motions to cover the desired area. Vary the amount of pressure to create different effects.

Colored Pencil Tips

The type of paper that you choose for your colored pencil art depends on your style of drawing. Every artist is different so it really is best to experiment. Paper comes in a variety of textures, otherwise known as its “tooth”. There are rough surfaces with a lot of texture as well as smooth surfaces with very little texture. Rougher textures are better for applying multiple layers; where as smooth surfaces are excellent for blending. You should purchase a few different types of papers to determine the type of surface you are most comfortable working with. Some good choices to consider for your colored pencil drawings are Rising Stonehenge, Canson Mi Tientes, and Strathmore.

When choosing your pencils, it’s best not to go for cheap pencils, because you may be disappointed with the results. Cheaper pencils do not have as much pigment and therefore will not produce the brilliance in color you are after. Many artists find the Prismacolor Colored Pencils to be a great choice. Prismacolor pencils have a soft lead that goes on smooth. When built up in layers they produce an almost paint like appearance.

Wax bloom, a build up of wax on the surface of your paper, is something you will more than likely become aware of as you work with the colored pencil medium. The wax in your colored pencil can rise to the surface and form a white hazy buildup that can dull your finished piece. There are two approaches for dealing with wax bloom. One approach is to try and prevent it from happening in the first place. Spraying a workable fixative over the surface after you have finished your drawing may help. There is some concern however that fixatives may alter the colors in a drawing, so it’s best to try this on a practice drawing first. The other method is to actually wait a week or so after you complete the drawing. If you see the wax buildup, grab some soft tissue or cotton balls, and rub the surface to remove the wax. Don’t apply too much pressure as you can smear your drawing.

Keep a large soft brush handy for brushing away unwanted scraps from your drawings. Artists use a number of things for this purpose, from horsehair drafting brushes, to 2″ household paint brushes.

Experiment with various types of erasers to see what type you are most comfortable with. Artists use a variety of tools for removing pigment or fixing mistakes. Kneaded erasers, plastic erasers, electric erasers, and even tape may work well for you.

For softening hard edges or blending, purchase some blending stumps or a colorless blender at your local art store.

Try and avoid electric sharpeners as they tend to eat away too much of the pencil. Many artists keep a piece of sandpaper handy and use that to sharpen the pencil point.

Never be afraid to try different things with your colored pencil art. Try various papers, pencils, etc.

Look for some local colored pencil workshops in your area. You will be amazed at the amount of great information and tips you will discover from your teacher and classmates.

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His Most Famous Painting (Sunday Afternoon on the Island of La Grande Jatte) – Georges Seurat November 11th, 2009

Author: Annette Labedzki
Source: ezinearticles.com

Georges-Pierre Seurat or Georges Seurat, a French painter & drafter, is recognized as the initiator of the nineteenth century French School of ‘Neo-Impressionism.’ Born into an affluent family in Paris on December 02, 1859, his father Antoine Chrysostom Seurat was a legal official and his mother Ernestine Faivre was a Parisian. In 1875, Seurat studied drawing under the sculptor Justin Lequien and painter Jean-Auguste-Dominique Ingres. Stern, obsessive, and highly secretive as a young man, he entered Ecole des Beaux-Arts, Paris, in 1878. Here, the creator of “Sunday Afternoon on the Island of La Grande Jatte (Un dimanche apres-midi a l’Ile de la Grande Jatte),” Georges Seurat, read a book by Humbert de Superville, on relationship between lines and images, which helped him shape his artistic career.

The ideal exemplary of a scientific artist, the artist spent his life mastering dye & color theories and the special effects of diverse linear structures. Georges’ works have always glorified ‘Modern Art’ with elite techniques, such as ‘Pointillism,’ the skill of displaying light using minute brushstrokes in contrasting colors. This exceptional painter had astounding powers of focus, concentration, and positive approach towards his work. Profoundly well versed in the scientific theories on color and vision, he found genuine inspiration in the works of Ogden N. Rood, Eugene Delacroix, Rembrandt, and Francisco de Goya. Seurat created a new genre of art, grounding on the basic of perception and optical laws, called ‘Chromoluminarism.’ In this style, he shaped big compositions, such as “Sunday Afternoon on the Island of La Grande Jatte” with the tiny, isolated strokes of color, which sparkled his works in brilliance.

Through 1884-86, Seurat painted the huge “Sunday Afternoon on the Island of La Grande Jatte.” This 81.7″ x 121.25″, oil on canvass, ‘Modern Art’ painting with a ‘Neo-Impressionist’ soul, depicted public in a park at the island. Resembling a mural, the theme shows an island the Parisian middle class used as a place of group recreation. In the painting, the activity pattern seems to segregate the figures. For a brilliant finish, the artist outlined the scene with painted dots and framed the canvass in white wooden frame. He used a then new color pigment, zinc yellow, for highlighting the lawn. Orange and blue pigments have also been significantly used. The ‘Pointillism’ Seurat engaged here was adopted by a set of his supporters, the ‘Neoimpressionists,’ and was widely used in the early twentieth century. Seurat displayed this masterpiece in 1888, at the eighth ‘Impressionist’ exhibition. Completely executed using dots, it is currently gracing the Art Institute of Chicago. Some of Seurat’s other noted works are “Les Poseuses,” “Port-en-Bessin,” “Le Chahut,” and “Jeune femme se poudrant.”

In 1889, Seurat met Madeleine Knobloch, a young uneducated model with whom he started living and had a son in 1890. Georges’ final work, “Circus” remains unfinished, due to his sudden death on March 29, 1891. Owing to his painstaking painting techniques, evident in “Sunday Afternoon on the Island of La Grande Jatte,” Seurat completed comparatively few major paintings in his lifetime. By the age of 31, Georges-Pierre Seurat had finished seven large paintings, 40 miniature paintings or sketches, and roughly 500 drawings. These 500 drawings single-handedly ascertain Seurat as a great master. However, he will be revered for his method called ‘Pointillism,’ or ‘Divisionism,’ which uses minute dots or strokes of different color to craft subtle changes in his art.

Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.Labedzki-Art.com

Annette has bonus offers on her work only. Buy 3 small paintings of any size (maximum size 11×17 inches) and receive 3 small paintings of your choice for free (maximum size 11×17 inches) SHIPPING IS FREE Buy one large painting (minimum size 18×24 inches) receive 5 small paintings of your choice (maximum size 11×17 inches) FOR FREE. SHIPPING IS FREE.

Please feel free to subscribe to her newsletter at http://www.Labedzki-Art.com

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Decorating With Handmade Oil Paintings November 10th, 2009

Author: Breiana Cecil-Satchwell
Source: isnare.com

Oil paintings have always brought elegance and ambience to home d?cor. Many people buy original oil paintings as part of their hobby. But then those who can’t afford original art can certainly find a great alternative. Yes, an inexpensive alternative!

Acquiring original expensive paintings doesn’t fit everyone’s budget. So what’s the alternative if you would still want to own a handmade masterpiece in your office or home? The solution is an oil painting reproduction piece that can be purchased at a fraction of the original price. These oil paintings are near to exact replicas of the original ones. Now, you have to remember that these replicas might fall short on your expectations but then they are much more fabulous then those lifeless prints.

So how do they do it? Oil painting reproduction techniques are very complicated and many consider it an art form by itself. The process of reproducing great art must be handled only by experienced and expert artists who can jot down entire paintings of your choice in a superior quality oil painting form on a bare museum grade canvas. Paintings on canvas are stretched to fit across wooden frames. A gesso ground layer is applied to remove any acidic properties of the oil paints used. Next thing is to apply the pigments and mix it up with the oils like linseed, walnut, safflower, poppy seed and many more. The different ratios between oils and pigments generate lots of different effects on the canvas.

You can have almost any art reproduction done. The elegance of oil paintings is very much in style. These handmade masterpieces add lots of color and class either to your living room or office where you can hang wall art oil paintings. Some people would buy these paintings for decorating, others for collecting and few as an investment. But nevertheless, reproduction oil paintings are available in different shapes and sizes and are considered to hold the passion of the originals. For colors and texture that no print could ever reproduce, check out reproduced handmade oil paintings.

Reproduction oil paintings have made it possible to have a handmade Van Gogh or Picasso hanging in your home. Such exuberant masterpieces are now available at an affordable price for home decorating or even for your office adding a brisk look and a treasured feel.

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