Ukiyo-e Master Hokusai’s Great Wave of Woodblock Art

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Hokusai (1760-1849) is world-famous for his designs of Mount Fuji, the most famous mountain of Japan. Hokusai (meaning ‘pole-star’ ) represents Mount Fuji in an impressive triangular shape in his prints of the holy mountain in the summer with massive floating clouds with lightning to the side of the mountian. One glance on such a simple and effective composition makes an unforgettable impression on the viewer.

Mini Biography

Little is known about Hokusai’s early life. From what he has told himself he developed an urge to draw all kinds of subjects related to nature from the age of 6. Also from an early age he came into touch with the art of woodcutting. This experience was as a ‘hidden force’ when he became a woodblock designer in his adult life. At the age of 19 he started as a pupil of Shunsho which marks the beginning of his career as a illustrator.

His first prints give the impression that Hokusai was not a natural talent but that was compensated by his possessiveness to drawing and his productivity which is unmatched in the history of Ukiyo-e. Initially he designed mainly kabuki (actor) prints and book illustrations but slowly he started experimenting within the other Ukiyo-e genres such as surimono (commissioned print), kacho-ga (flower and bird print) and shunga (erotic print).

Manga

In 1812 Hokusai travelled to Kyoto and Osaka. On this ocassion he produced hundreds of sketches with the intention of getting them published in the form of a handbook on the art of drawing. Between 1812 and 1820 the first ten volumes were published which are known to the world as the ‘Sketchbooks of Hokusai’ (Hokusai Manga).

This overwhelming quantity and striking diversity of sketches shows the viewer the full reality of the Japanese daily life. The subjects are almost unlimited and forms a colourful encyclopaedia of human life and labour, myths and legends and of the material and natural environment.

Great Wave

It is like the production of these sketchbooks were a finger exercise, a contemplative preamble for his masterpiece which places Hokusai in the pantheon of greatest artists being on a par with Raphaël, Michelangelo and Rembrandt. This masterpiece series, called the ’36 Views of Mount Fuji’ (Fugaku sanjurokkei), with Mount Fuji as its main subject, portrayed under changing weather circumstances from different locations and points of view, was published when Hokusai was 70. One of the prints is called the ‘Beneath the Wave of Kanagawa’ (The Great Wave) and is the most famous print in the history of Japanese woodblock art.  

Hokusai’s Great Wave print depicts one enormous wave coming from the left and reaching up into the sky with its tentacle crests ready to smash the boats including their passengers. It’s the magnificent juxtaposition of the three elements the divine, the human and the earthly presented here in a perfect harmony giving the image such an impact and power.  It was Hokusai’s ’36 Views of Mount Fuji’ -series and especially The Great Wave that provided the impressionists a decisive impulse in their quest inventing a new art as stated by Edmond de Goncourt in his book on Hokusai in 1896:

“This horizontal series, with its rather crude colours, which nonetheless attempt to reproduce nature’s colours under all lightning conditions, is the album which inspires the landscapes of the impressionists of the present moment”.    

Books on Hokusai  

‘Hokusai’ by Gian Carlo Calza, ‘ The Hokusai Sketchbooks’ by James A. Michener, Hokusai: ‘First Manga Master’ by Jocelyn Bouquillard and Christophe Marquet.      

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Mono No Aware: The Essence of Japan

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Mono no aware: the Japanese beauty aesthetic

Meaning literally “a sensitivity to things,” mono no aware is a concept describing the essence of Japanese culture, invented by the Japanese literary and linguistic scholar scholar Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word *aware*, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes beauty as an awareness of the transience of all things, and a gentle sadness at their passing. It can also be translated as the “ah-ness” of things, of life, and love.

Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual philosophy and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of beauty described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.

According to mono no aware, a falling or wilting autumn flower is more beautiful than one in full bloom; a fading sound more beautiful than one clearly heard; the moon partially clouded more appealing than full. The sakura or cherry blossom tree is the epitome of this conception of beauty; the flowers of the most famous variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a single week. The subject of a thousand poems and a national icon, the cherry blossom tree embodies beauty as a transient experience.

Mono no aware states that beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the ultimate perfection of an external object: a sublime painting, perfect sculpture or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an experience of the heart and soul, a feeling for and appreciation of objects or artwork–most commonly nature or the depiction of–in a pristine, untouched state.

An appreciation of beauty as a state which does not last and cannot be grasped is not the same as nihilism, and can better be understood in relation to Zen Buddhism’s philosophy of earthly transcendence: a spiritual longing for that which is infinite and eternal–the source of all worldly beauty. As the monk Sotoba wrote in *Zenrin Kushū* (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: “Everything exists in emptiness: flowers, the moon in the sky, beautiful scenery.”

With its roots in Zen Buddhism, *mono no aware* is bears some relation to the non-dualism of Indian philosophy, as related in the following story about Swami Vivekananda by Sri Chinmoy:

*”Beauty,” says [Vivekananda], “is not external, but already in the mind.” Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. “It was dark when we approached Sicily, and against the sunset sky, Etna was in slight eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that beauty is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. ‘Messina must thank me,’ he said; ‘it is I who give her all her beauty.'” Truly, in the absence of appreciation, beauty is not beauty at all. And beauty is worthy of its name only when it has been appreciated.*

The founder of *mono no aware*, Motoori Norinaga (1730-1801), was the pre-eminent scholar of the Kokugakushu movement, a nationalist movement which sought to remove all outside influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival during the Tokugawa period of the Shinto religion. Contradictorily, the influence of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an outside influence, it was by this point unable to be extricated.

Meaning literally “a sensitivity to things,” mono no aware is a concept describing the essence of Japanese culture, invented by the Japanese literary and linguistic scholar scholar Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word aware, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes beauty as an awareness of the transience of all things, and a gentle sadness at their passing. It can also be translated as the “ah-ness” of things, of life, and love.

Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual philosophy and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of beauty described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.

According to mono no aware, a falling or wilting autumn flower is more beautiful than one in full bloom; a fading sound more beautiful than one clearly heard; the moon partially clouded more appealing than full. The sakura or cherry blossom tree is the epitome of this conception of beauty; the flowers of the most famous variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a single week. The subject of a thousand poems and a national icon, the cherry blossom tree embodies beauty as a transient experience.

Mono no aware states that beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the ultimate perfection of an external object: a sublime painting, perfect sculpture or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an experience of the heart and soul, a feeling for and appreciation of objects or artwork–most commonly nature or the depiction of–in a pristine, untouched state.

An appreciation of beauty as a state which does not last and cannot be grasped is not the same as nihilism, and can better be understood in relation to Zen Buddhism’s philosophy of earthly transcendence: a spiritual longing for that which is infinite and eternal–the source of all worldly beauty. As the monk Sotoba wrote in Zenrin Kushū (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: “Everything exists in emptiness: flowers, the moon in the sky, beautiful scenery.”

With its roots in Zen Buddhism, mono no aware is bears some relation to the non-dualism of Indian philosophy, as related in the following story about Swami Vivekananda by Sri Chinmoy:

“Beauty,” says [Vivekananda], “is not external, but already in the mind.” Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. “It was dark when we approached Sicily, and against the sunset sky, Etna was in slight eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that beauty is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. ‘Messina must thank me,’ he said; ‘it is I who give her all her beauty.'” Truly, in the absence of appreciation, beauty is not beauty at all. And beauty is worthy of its name only when it has been appreciated.

The founder of mono no aware, Motoori Norinaga (1730-1801), was the pre-eminent scholar of the Kokugakushu movement, a nationalist movement which sought to remove all outside influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival during the Tokugawa period of the Shinto religion. Contradictorily, the influence of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an outside influence, it was by this point unable to be extricated.

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Wieco Art African Dancers Abstract Oil Paintings on Canvas Modern Canvas Wall Art Contemporary Artwork for Wall Decorations Home Decor

Wieco Art African Dancers Abstract Oil Paintings on Canvas Modern Canvas Wall Art Contemporary Artwork for Wall Decorations Home Decor

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High quality 100% hand-painted oil art painting on canvas provided by Wieco Art. Our painter of world-class artisans painstakingly reproduces all of our paintings by hand, using only the quality oil paints on canvas. We stand by our top quality and strive to provide your favorite paintings as original paintings nature of the artwork. The edges of every canvas paintings are painted and the surface is covered with clear plastic film layer to protect the wall paintings. Canvas painting are wrapped and hand stretched on durable wooden frame with hooks mounted on each panel for easy hanging out of box. Redefine your living style now with this unique and elegant piece of art paintings created by professional artist from Wieco Art.High quality 100% Hand-painted oil paintings on canvas painted by our professional artists with years of oil painting experience. A great gift idea for your relatives and friends.
Stretched and Framed canvas paintings set for home decoration, each panel has a black hook already mounted on the wooden bar for easy hanging out of box.
Painting size:8x20inchx1pc,8x24inchx3pc(20x50cmx1pcs,20x60cmx3pc)
As each painting is 100% hand-painted, actual paintings may be slightly different from the product image. Due to different brand of monitors, actual wall art colors may be slightly different from the product image.
Authentic Wieco Art canvas wall art are packed in carton box with Wieco Art logo printed on each box.Hot Selling oil or Acrylic paintings on canvas, A perfect wall decoration oil paintings for living room, bedroom, kitchen, office, Hotel, dinning room, bathroom, bar etc..



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Twenty Tips That Make Painting Easier

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A list of twenty tips and hints that will make painting easier. Tips include ways that will make clean up easier, how to protect surface, etc.

Painting is a hard enough job without any extra labor. The following is a list of tips you should keep in mind before you start painting. They might not make you enjoy it, but they will make the job easier.

1. Make sure you have everything you need before you get started–especially enough paint. In general, a can of paint covers about 400 square feet.

2. Try to avoid painting on rainy days. The extra humidity in the air will cause the paint to dry slower. If this can’t be avoided, use a dehumidifier to help speed the drying process.

3. If you are painting a large room, don’t try and same money by purchasing the cheap rollers and brushes. The money you save will be minimal and won’t make up for sore hands. Plus, better rollers and brushes will help you work quicker.

4. Have your primer tinted the same color as you intend to paint. This will ensure that the paint covers well and could cut down on the need for an additional coat.

5. Use a nail to tap about five or six holes in the retaining grove of the paint can. This will allow the paint to run back into the can. If you need to reseal the can, you can put the nails into the can or put a little play dough or clay over the holes.

6. Glue a large paper plate to the bottom of any open paint can you are using to catch any splatters or drips.

7. Flattened out corrugated boxes are perfect to cover the floors with when painting.

8. Have a wet rag and paper towels handy to wipe up any drips or mistakes. Most of them–including accidental dabs on the ceiling–can be removed this way.

9. Keep some patching compound and a spackle handy. You’ll be surprised at all the little holes and marks you can find on your wall. They might not have been visible with the old color, but they can stand out with the new.

10. When stopping for short periods, seal your paintbrushes inside a Ziploc or plastic bag. This will keep them “fresh” without having to spend the time cleaning them. Plastic wrap and aluminum foil work almost as well.

11. Line the inside of your paint tray with aluminum foil or plastic. It will make the clean up easier.

12. To make cleaning your brushes easier, use an old baby-wipe container. Poor paint thinner into the container and push the handle of the brush through the hole in the lid. This will allow the brush to soak without bending the bristles. If you don’t have any baby-wipe containers, try cutting a slot into the lid of a coffee can or similar container.

13. Wipe paint rollers on old newspapers before cleaning. Getting rid of any excess paint will make them easier to clean.

14. Rub hand lotion on your hands and arms before you begin. It will make the paint easier to wash off your hands when you’re finished. Also, baby oil is sometime better at removing paint from your skin that soap.

15. If you have a steady hand, you might not need masking tape to cover the edges.

16. Wet newspaper can work great at protecting windows. You can use one-inch long strips of newspaper to protect the windowpanes around a window. Dip each strip into water. Pull the strip between your thumb and index finger to remove the excess water. Press the strips onto the glass close to the wood. Do only two at a time and remove them as soon as you’re through.

17. If you’re painting a bathroom, use wet newspaper to cover the bottom and sides of the tub. The newspaper will click and keep your tub paint-free.

18. Wrap hardware (doorknobs, hinges, pulls, etc.) in foil before painting.

19. Use old milk jugs to store paint. It will keep just as long and the paint is easier to access if you need to do some touch-ups.

20. Write the date, brand and color of paint used under the light switch for a handy reference.

Copyright © 2006 Ian White

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Source by Ian White

How to Make Your Drawings Realistic

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Learning how to make your art more realistic may be easier than you think. The first thing you do, is to begin to see objects in this world as simple shapes. About 80 percent of art is thinking and seeing things like an artist. The other 20 percent is technical skill. There are a handful of basic shapes. These are, circle, square, rectangle, and triangle. As you look at the screen of your computer monitor to read this article, you can boil down the computer monitor as a square.

Now, taking this further into a 3 D world, the circle becomes are ball or sphere, the square becomes a cube, the rectangle becomes a rectangular cube or cylinder and the triangle becomes a pyramid. So as you begin to draw animals, flowers, bodies, and faces of people, you basically first draw out the basic shapes. These shapes are a lot easier to draw and put down on paper than trying to draw all of the complex details all at once.

For example, if you’re drawing a portrait of a person, you draw out the basic shapes. Then, after you’ve got the shapes, you work on the shading. Shading is the magic behind your realistic drawings. Shading is what makes your drawing come to life from 2 D to 3 D. There are different types of shading techniques. One of them is crosshatching.

One of the most important things in drawing and illustration is crosshatching. Crosshatching is shading with two or more sets of intersecting parallel lines. These are graded markings that indicate shaded and light areas in your drawings or paintings.

When you learn the basics of drawing, it will show in your quality of drawings and art. This takes a great amount of practice, especially if you’ve never done this before. To practice, create a column of about 5 blocks. With a 2B pencil, make the last block on the right as dark as possible. On the other end, you want to keep that block white. In between, you create a graduation from dark to light.

As you do this notice how you lighten up on the pressure of the pencil as you increase the lightness of the value. Start by doing a linear cross hatch. Make your lines as close together as possible. Go slow. Don’t try to rush. Take your time and do it right. Lines can be crosshatched in four different directions; horizontal, vertical and 2 diagonals. For light tones, use only two different directions. For darker tones, you want to use all four directions.

After you’ve done that, repeat. Try it with spacing the lines wider apart. Also, try it by spacing the lines closer together. You can also change the pencils to a 2 H or a 6 B to see how different your results will be. Keep your pencils sharpened. If your pencils are dull, you’ll also get different results. Be sure to do this slow and take your time. You want your hand to be able to be accurate and precise. This takes time and practice.

Creating realistic drawings and illustrations can be fun and profitable. Shading and crosshatching are just two key elements of creating realistic drawings. Remember, the key to getting good is practice, practice and more practice. Also don’t forget to have fun with this.

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Bound Manuscripts – Four Simple Steps

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Bound manuscripts are essential to establish a prepublication marketing strategy and exposure before the book is sent to the printer. Used in place of the Advanced Reading Copy (ARC) or the galley, the bound manuscript takes the least time to create.

Bound manuscripts can be printed on copy paper using a desktop printer. Label the title and the author of the book on the front. All pertinent information about the book must be included in the text.

Send the manuscript to book reviewers, book clubs, radio stations, websites, magazines and newspapers for publicity. Before you run off and print a bound manuscript, first check the submission guidelines and follow the four simple steps below to avoid embarrassment or no response at all.

Step 1: Edit – Edit the manuscript, thoroughly. Proofread the text for the last time. Did you use a professional editor? Still line edit and review – your reputation is on the line.

Step 2: Typeset – Typeset the manuscript or hire a professional. If you layout the pages on your own, research the process and apply all technical specifications a layout designer would.

Step 3: Print– Print the typeset manuscript from your computer. If possible, print two-sided pages to reduce paper and give a novel feel. Shorter books can be printed on one side of the paper.

Step 4: Bind – Bind the manuscript using binding tape or punch holes in left column and use the spiral bind. Punching holes and using the spiral bind provides a more finished look to the book. A plastic comb bind also provides a professional end product.

Package the manuscript with a press release, a sell sheet, a business card and a cover letter. For the best results, send the press kit and follow the submission guidelines. Stick to the four steps. Some book reviewers will let small errors pass, but a professionally produced bound manuscript will present the best opportunity for maximum exposure.

If you do not have the equipment to produce the bound manuscript, hire a company to complete the project or research print shops for binding services.

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Pencil Drawing As A Pastime

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We all need to be able to give our minds a rest sometimes. This is not as easy as it sounds. However, I have the answer for you. Your mind can be put at rest and refreshed, not only by resting, but by using other parts of the mind. It’s not enough to switch off the lights that are on the main part of your mind, a new part must be lit.

It’s no use saying you will lie down and think of nothing. The mind keeps busy just the same. It is only when new cells are stimulated that you will find relief. Choose your pastime wisely and just choose one. Concentrate upon that one.

Drawing is a companion to be enjoyed. Drawing is a friend who makes no undue demands, it can excite you and it keeps pace even when you take little steps. Artists are happy people. Light, color and peace keep them company to the end of the day. To find yourself a new and intense form of interest, is an enriching experience.

I don’t pretend to explain how to draw, but only how to get enjoyment. Even after the age of forty. It would be a shame if you waste your life, wondering what to do, when all the time, there is a new world of art waiting for you. If you start this pastime later in your life, don’t expect too much from yourself. You probably won’t create a masterpiece. You won’t have the advantage of years of training. Don’t give up though, some artists have become famous later in their lives. You could be one of them!

The only thing you really need, is to be bold and adventurous. Don’t let a piece of clean white paper deter you. Experiment. Break the spell of staring at that piece of blank paper. Just remember, you can erase it all away. Drawing is great fun. Try it. It can take a tired mind and turn it into a very productive mind. Pencil drawing completely absorbs the mind. I can’t think of anything outside of the world of art that would compare with it.

To cultivate a new interest is of great importance to any person. We all need escape from the pressures of day to day living. It is an amazing thing to see a group of artists copying the same picture and to see all the different interpretations each artist makes of that picture. You are unique and you can bring your own creativity to the world.

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What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art

What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art

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In the tradition of Eats, Shoots & Leaves, art history with a sense of humor

Every year, millions of museum and gallery visitors ponder the modern art on display and secretly ask themselves, “Is this art?” A former director at London’s Tate Gallery and now the BBC arts editor, Will Gompertz made it his mission to bring modern art’s exciting history alive for everyone, explaining why an unmade bed or a pickled shark can be art—and why a five-year-old couldn’t really do it. Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.



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Acrylic Painting Techniques: Learn To Paint With Acrylics

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Acrylic painting requires practice and patience. For the beginner artist who wish to learn how to paint with acrylics there are tons of resources on the internet revealing the common acrylic painting techniques and tutorials of different artists. We call them cheat techniques. By learning and applying these methods that master artists use in their own works, it is very possible to learn acrylic painting on your own.

Most of the beginning artists prefer to start with landscape painting. Because it is the easiest way to start to paint with acrylics. After getting some experience and confidence, the next level usually is painting portraits.

Learn Acrylic Painting Techniques From The Masters

Usually artists draw basic elements of their composition on canvas before starting to paint landscapes or portraits. It is not preferable to draw hard lines with much details because of the risk that the drawings can appear even after the painting. This is why it is best to draw very softly for the purposes of the settlement of the elements of the composition correctly.

The grid method can help at this point which is a great way to get a small picture onto a larger area such as a canvas. It is actually a way to break a picture down into a dozen or more smaller more manageable pictures. Griding can be achieved by placing a grid over the photo then drawing grid lines on the canvas and simply copying what you see onto the canvas square by square until you complete the whole picture.

How To Paint With Acrylics Tutorial With Step By Step Instructions

A good acrylic painting lesson is I am painting series lessons and tutorials calleinsd Portrait Painting With Acrylics and Landscape Painting Using Acrylic Paints. Although it may take years to learn by trial and error, with the help of these online available tutorials and lessons, it becomes easy to learn painting. Indeed anyone can learn to paint with acrylics with ease no matter it is portrait or landscape.

Portrait Painting With Acrylics is a 33 page eBook with 1 hour video tutorial. Even people who never sketched before, will find how to cheat their way to creating beautiful portraits. Because the step by step instructions with pictures take you from the first sketch to the finished colored details including shading and highlighting. After taking this course, anyone can learn how to paint beautiful portraits in acrylics easily.

You will get tricks of a professional artist and learn how to cheat his way to paint portraits with acrylics. You will be given the techniques, supplies and other materials that you need. And finally learn with step by step explanations how to start, build and finish your acrylic portrait painting.

Inside Portrait Painting With Acrylics eBook pdf guide you will find information on:

  • supplies you will need
  • preparing the canvas
  • creating skin tones
  • painting all hair colors
  • achieving an accurate drawing on the canvas
  • painting eyes, noses, mouths and ears
  • getting sparkling highlights in the hair and on the skin.
  • proper shadowing techniques
  • what not to draw and paint.
  • painting backgrounds
  • making dramatic final effects on the canvas

As a free bonus, you will get over 1 hour video lesson on how to paint people in acrylic. After watching the step by step instructions in the video tutorial you will be able to create lifelike eyes, mouth, teeth, lips, noses, ears, hair and skin tones.

Landscape Painting Using Acrylic Paint is a 58 page eBook which comes together with another 31 pages free eBook called Watercolor Painting Using Acrylics.  Inside this step by step guide, you will find detailed information on creating beautiful paintings which you can give, sell or display with proud. You will not only learn the techniques to create clouds, reflections, shadows and “life” in painting, but also learn tips for painting the day scenes, night scenes, ocean scenes, sunsets, flowers and meadows, and also tips and techniques for adding buildings, effective shadows and highlights.

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Source by Edith Ozera

Sculptures and Art From the Philippines

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Sculptures from the Philippines come in a variety of mediums. There are glass sculptures, marble sculptures, bronze and mixed medium sculptures. The themes, forms and styles used for Filipino sculptures run the artistic gamut from abstract sculptures to figure studies.

During the 18th century sculptures from the Philippines reflected Catholic themes. One of the most famous 18th century Filipino sculptures was the Virgin of the Immaculate Conception. This sculpture was created in ivory. It was decorated using polychrome, glass, silver and gilding.

Alma Quinto is a modern Filipino sculptress that works in a variety of mediums and art forms. Her Lolita’s Pet is a mixed medium sculpture that has been featured in several publications. It is currently valued at about S$500. If you enjoy the sculptures created by this artist then you may also be interested in the illustrations, paintings, textiles and installation pieces created by this artist as well.

Duddley Diaz is another modern artist from the Philippines who specializes in unique sculptures. He was born in the Philippines in 1962. His artistic education started at the University of the Philippines where he earned a BFA. It then continued at the Academia di Belle Arti in Florence, Italy. Here Diaz studied both painting and sculpting. One of the pieces that this Filipino artist created was the Preacher no. 3. This 1997 creation was formed from wood and other mediums. It was valued at S$7,000. In addition to wood, Diaz also works in bronze. His bronze sculpture Goddess with a Bough has been valued at S$7,000.

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Source by Sarah Freeland