Circus Musical Instruments

This is the Bellcycle. It is a stationary bike with bells in the stokes of the wheel. When you pedal the Bellcycle the bells make a charming chiming sound.

This is the Trunket. When you blow through the Trunket, fun bubbles blow out carrying the sound with them to the audience at the Circus.

These are the Peanut Shakers. Shake the Peanut Shakers and you will hear a happy little tune.

This is the Flying Drum. The Flying Drum flies around through the audience creating its own playful beats.

I hope you come to this circus and have a fantastic music filled time!

watercolor | stained glass series

This Is America, My Land

Collage Research

A collage is a work of formal art, primarily in the visual arts, made from an assemblage of different forms, thus creating a new whole.

A collage may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other artwork, photographs and otherfound objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty.

The term collage derives from the French "coller" meaning "glue".This term was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.


Arrange your items on the surface. Resist any impulse to place them in straight lines, make everything the same size, show all of every item or only use one kind of item in your collage.


My main emphasis, as a collage teacher, is to elicit from students their own individual touch. From the start, people are asked to mix colors, paint papers, make prints, create different textures, cut elements from magazines, etc.

What makes a good collage composition? I don’t think it differs from any other kind of art. All the usual suspects come into play: movement, texture, light, color, theme, form, line, space.

But it’s a good question because composition is the very key to collage. Basically you are playing with shapes in relation to each other. At times I feel as if I am conducting a circus. As the ringmaster, I am controlling all these characters, all the shapes that are flying around.

research: http://en.wikipedia.org/wiki/Collage
http://www.ehow.com/how_2045517_make-collage.html
http://emptyeasel.com/2010/04/08/the-art-of-collage-an-interview-with-collage-artist-alexandra-sheldon/


artists:
Susan Adame: http://www.SusanAdameArt.com/Site/Susan_Adamé_-_Collages.html

I really enjoy Susan Adame's collage art because of her use of geometric shapes, texture, and color pallet. I like how she focuses on composition using elements of design rather than focusing on subject matter. To view Adame's art work, go here: http://www.SusanAdameArt.com/Site/Collage_Inventory.html














Dick Allowat: http://allowatt.com/

I like Dick Allowat's work because of his compelling subject matter and composition. I like how he uses a variety of different mediums to create his collages. He also uses a lot of objects, such as, a toy, or a water color paint pallet, etc. He uses thick paint as well to create texture and color. He creates strong images by his conceptual subject matter and compelling compositions. To view his artwork, go here: http://allowatt.com/gallery












Robert Mars: http://www.robertmars.com/main.html

"My work is a chronicle of Americana. I am determined to capture the independent aesthetic of the not-so-distant past that has been replaced by homogenized corporate culture and standardized cityscapes. Industrial design, graphic design, architecture, vintage neon and mid-century icons all render important roles in my work." -Robert Mars

I really enjoy Robert Mars' artwork because of the simple color pallet, using really stark black images for contrast. I like his subject matter using images from the 50's and 60's. His images are strong and compelling because of subject matter, texture, strong contrast, and good composition. I like how he incorporates typography into his collages as well.

Niki's Baby Shower Invitation | Special Delivery

lithography | life goes on

lithography research

Lithography uses simple chemical processes to create an image. For instance, the positive part of an image is a hydrophobic, or "water hating" substance, while the negative image would behydrophilic or "water loving". Thus, when the plate is introduced to a compatible printing ink and water mixture, the ink will adhere to the positive image and the water will clean the negative image. This allows a flat print plate to be used, enabling much longer and more detailed print runs than the older physical methods of printing (e.g., intaglio printing, Letterpress printing).

Lithography was invented by Alois Senefelder in Bohemia in 1796. In the early days of lithography, a smooth piece of limestone was used (hence the name "lithography"—"lithos" (λιθος) is the ancient Greek word for stone). After the oil-based image was put on the surface, a solution of gum arabic in water was applied, the gum sticking only to the non-oily surface. During printing, water adhered to the gum arabic surfaces and avoided the oily parts, while the oily ink used for printing did the opposite.

Lithographic crayons and pencils are manufactured in a range from very soft and greasy through to being very hard and dry. As a consequence mark-making is potentially limitless and they can be used to great effect to develop drawings of varying character. Considerable detail and full range of tone from the subtlest grey to the densest black can be achieved. Rubbing crayon which is commonly applied to the surface of stone using rag may also achieve soft smudgy atmospheric effects similar to that found in charcoal drawing and a good example of its use can be seen in the print Quotidian by Donald Furst.

The liquid drawing ink known as tusche is favoured by many lithographers as it will dry and reticulate on the surface of the stone in the most astonishing manner, creating exaggerated web-like patterning on the surface of the stone.



Here is a very good tutorial on how to create a lithographic print.
http://www.youtube.com/watch?v=JHw5_1Hopsc

research: http://en.wikipedia.org/wiki/Lithography
http://www.spgw.co.uk/characteristics4.html

artists:
rex ray: http://www.globalgallery.com/search.php?af=rex+ray

Sarah June Change: http://www.globalgallery.com/enlarge/25031/

Robert Rauschenberg: http://www.globalgallery.com/enlarge/89764/

Impasto | Love Will Set Me Free

thick paint (impasto) research

     There are many different techniques used in order to achieve thick paint, but impasto is one technique that is used most often. This technique allows one to make a thickly textured paint that almost gives a three-dimensional appearance. It leaves visible brush strokes in the finished painting, and in most cases, the brush strokes are more important than the subject matter. Impasto is usually painted on a canvas, and if you look on the side of the painting you can usually see globs of paint sticking out from the canvas. Also, from the front of the painting, the impasto paint is highlighted by natural light in the room. Most impasto paintings are expressive and abstract works of art.

     Oil paint is most commonly used when achieving the impasto painting technique, due to its thickness and slow drying time. But, it is also possible to paint with the impasto technique using acrylic, watercolor, and tempera. Tempera needs a thickening agent because of it is thin in nature. 

• When thick layers of pigment are left to dry slowly, wrinkling or cracking of the paint film may occur. To avoid this, use a fast-drying alkyd medium or one specially designed for impasto work. These mediums thicken the paint without changing its colour, expedite the drying process and make the paint go further. Excessively oily paint usually makes it awkward to achieve highly textured impasto brushstrokes. In such a case, squeeze the paint onto absorbent paper and leave it for a few minutes. The paper will absorb the surplus oil lending the paint a stiffer consistency.
     
• Flat bristle or synthetic brushes are ideal for impasto work, because they hold a lot of paint. Load your brush with plenty of colour and dab it onto the canvas, working the brush in all directions, thus creating a sculptural texture.
    
• For extra texture, mix sand and sawdust with oil paint to create a highly impastoed surface. You can also make expressive marks by scratching into the wet paint with a palette knife, the end of a brush handle or any sharp tool.
     
• If your oil painting becomes clogged with too much paint, the surplus can be removed when still wet by a technique known as 'tonking'. Simply place a sheet of newspaper, toilet-tissue or other absorbent paper, onto the overloaded area and gently smooth with the back of your hand. Then peel off the paper, lifting the excess paint with it.
     
• Once your impasted layer is completely dry, you can glaze over it with a thin film of paint mixed with a glaze medium. However, in order to prevent cracking, the glaze medium must contain more oil than the layers underneath.

research:

http://emptyeasel.com/2007/07/26/what-is-impasto-thick-textured-paint/

http://en.wikipedia.org/wiki/Impasto

http://www.visual-arts-cork.com/painting/impasto-technique.htm

artists:

VAN GOGH- http://en.wikipedia.org/wiki/Vincent_van_Gogh. Vincent Van Gogh was one of the pioneers in using the impasto technique to create an expressive work of art. He used thick layers of paint and relied on the strokes to speak the expression he was trying to achieve. I've always admired his work and the expressive nature they take on. To see his works of art, go here: http://www.vangoghgallery.com/

RODERIC O'CONOR- http://www.visual-arts-cork.com/irish-artists/roderic-oconor.htm Roceric O'Conor was a Francophile, an exponent of Post-Impressionism, and one of the greatest Post-Impressionists in the history of Irish art. O'Conor spent more of his life in France than any other Irish painter and unquestionably belongs to the sunny 'Post-Impressionist' world of the turn of the century. Inspired and engaged by the use of colour, his bold colors and color combinations give his work the stamp of true individuality. To look at his works of art, go here: http://www.google.com/images?client=safari&rls=en&q=roderic+o'conor&oe=UTF-8&um=1&ie=UTF-8&source=univ&ei=tlpZTe-pOom-sAORlIGdDA&sa=X&oi=image_result_group&ct=title&resnum=5&ved=0CEIQsAQwBA&biw=1024&bih=910&safe=active

FRANK AUERBACH- http://www.visual-arts-cork.com/famous-artists/frank-auerbach.htm Auerbach is usually classed as a Neo-Expressionist and is known for his semi-abstract portraits and London cityscapes. Along with Lucian Freud (b.1922) and Francis Bacon (1909-92), Auerbach has become one of the leading figures in post war British art, and is internationally recognised. His paintings display heavy impasto brushstrokes and are built up layer over layer involving scraping and repainting. Employing delicate colour and tone, he creates powerfully evocative and contemplative works. It has been said that if drips are associated with Jackson Pollock (1912-56), and spots with Georges Seurat (1859-91), so gashes of thick paint are associated with Frank Auerbach. His brushstroke and thick use of impasto aligns his work with Expressionism. Over the years he has increased the amount of paint he applies to canvas, resulting in the comments that his painting is more akin to sculpture (with influences of Alberto Giacometti 1901-66 and Karel Appel (1921-2006). More recently the artist has started scraping back some of the paint as he works. His drawings also show an influence of sculpture, in the fact that he layers pages of paper on top of each other, sometimes resulting in as much as half an inch in thickness. To see his works of art, go here: http://www.marlboroughfineart.com/artist-Frank-Auerbach-52.html

dry brush | my teapot collection

dry brush and scumbling research

One of the easiest and most exciting ways for a painter to create light is to use the technique scumbling.

This technique works great with both acrylic and oil paint. In preparation for scumbling start with a dark and dry underpainting. Scumbling is a technique using:

1. A dry brush.

2. A lighter color than the dark, dry surface.

3. Towels to wipe off excess color from the brush.

4. And the skill to deftly drag the brush while applying paint.

You start by taking a dry brush, using no medium, mix a color which is lighter than your underpainting. Then wipe off excess color on a paper towel, leaving a lightly tinted brush. Then delicately drag the brush over the area that you want to lighten.

You don't want to swirl gobs of paint around.

It is important to make this a one shot deal. If you apply too many layers, one immediately following the other, the paint begins to blend - destroying the airy gauze-like look. 

The scumbling technique allows for endless editing, and it can achieve a high level of realistic detail. If you are not happy with your scumbling results, let the canvas dry, paint back over the area in a dark wash, toning it down to the desired effect. After the paint is dry go back and scumble again. And repeat this as often as necessary to get ultimate results. 

Francis Bacon: http://www.leninimports.com/francis_bacon_bio.html

Francis Bacon was well known for his scumbling technique. His work was very dramatic and riveting. I like that he used this technique to achieve the look he wanted. It added depth and a feel that couldn't be achieved any other way besides the scumbling technique. To look at his images of work, go here: http://www.leninimports.com/francis_bacon_gallery.html

Diego Velázquez: http://en.wikipedia.org/wiki/Diego_Velázquez

Diego Velazquez was another artist whom often used the scumbling technique. Undoubtedly, Spaniard Diego Rodríguez de Silva y Velázquez is one of the most important figures in painting history. His innovative brushwork and direct manner of painting were revolutionary, creating a sense of atmosphere and energy in his work which led to more than one contemporary commenting that while others painted art, Velázquez painted "truth". Since his rediscovery in the early nineteenth century, Velázquez and his method have inspired countless young artists, from Manet and the Impressionists, through Whistler, Sorolla, Sargent, and many, many more. To look at his work go here: http: http://www.google.com/images?um=1&hl=en&client=safari&rls=en&biw=1024&bih=894&tbs=isch%3A1&sa=1&q=diego+velazquez&aq=f&aqi=&aql=&oq=

Dry Brush refers to a watercolor painting technique in which a little bit of painting is put on a dry brush. When applied it produces a scratchy effect. In Dry Brush most of the liquid is taken out of the brush to produce a soft feathery kind of effect. The technique is used to create a variety of textured surfaces such as foliage, bark, stone, clouds etc. In Dry Brush painting the brush is just dipped in water and using a paper towel most of the paint is removed from the brush.

Techniques of Dry Brush painting-

• The Brush should be moved rapidly across the paper
• The paint must be damp
• The brush should be barely filled with paint
• To make the color go faster in sideways very light touch should be employed.
• Dry Brush technique utilizes no water or medium other than paint to wet the brush.

Andrew Wyeth: http://en.wikipedia.org/wiki/Andrew_Wyeth

Andrew Wyeth was a realist painter using the technique dry brush. Museum exhibitions of Wyeth's paintings have set attendance records. 

He was one of the best-known U.S. artists of the middle 20th century, and was sometimes referred to as the "Painter of the People," due to his work's popularity with the American public.

To look at his work, go here: http://www.google.com/images?hl=en&client=safari&rls=en&q=andrew+wyeth&um=1&ie=UTF-8&source=og&sa=N&tab=wi&biw=1024&bih=894&safe=active

research: http://www.artinstructionblog.com/watercolor-drybrush-technique-by-ottorino-de-lucchi

               http://newberryworkshop.com/Tutorial/scumble/scumble.html
               http://www.learntoart.com/index.php/archives/painting/dry-brushing/

                 

silk screen | mother hen

silk screen research

I feel that it is very important to understand the way silk screen printing was traditionally done in order to recreate the process. From my research, I learned really fun things about silk screening. I like the fact that silk screening is like a stencil and squeegee over the screen. I feel this is a fun process and you can do some interesting things with this process.

Silk screening was "originally used as a popular method to print expensive wall paper, printed on linen, silk and other fine fabrics." Then during the 20th century, silk screening became popular in fine arts and commercial arts. Commercial printing is usually printed on posters, t-shirts, hats, CDs, DVDs, ceramics, glass, paper, metals, woods, etc. The printing technique includes: 1) using a screen made of finely woven fabric (mesh) using silk (currently silk screens are made of manmade product such as nylon and polyester instead of silk). 2) Areas of the screen are blocked off with non-permeable material to make a stencil. It makes a negative of the image to be printed. Which means, the open areas of the stencil will be the places where the ink appears. 3) The screen is placed on paper or fabric. And then the ink is squeegeed on top of the screen. 


The stenciling techniques include: 1) the original image is created into a transparent overlay such as tracing paper. 2) A screen must be selected. The screen must be coated with emulsion and let to dry in the dark. Once dry, it's read to be exposed. 3) The overly is placed over the emulsion-coated screen, and then exposed with alight source. 4) Wash the screen off thoroughly. The areas of emulsion that were not exposed to light dissolve and wash away, leaving a negative stencil of the image on the mesh.


Silkscreening Materials:

Caviar beads

again a glue is printed in the shape of the design, to which small plastic beads are then applied – works well with solid block areas creating an interesting tactile surface.

Discharge inks

used to print lighter colours onto dark background fabrics, they work by removing the dye in the garment – this means they leave a much softer texture. They are less graphic in nature than plastisol inks, and exact colours are difficult to control, but especially good for distressed prints and underbasing on dark garments that are to be printed with additional layers of plastisol.

Expanding ink (puff)

an additive to plastisol inks which raises the print off the garment, creating a 3D feel.

Flocking

consists of a glue printed onto the fabric and then foil or flock (or other special effect) material is applied for a mirror finish or a velvet touch.

Four colour process or the CMYK color model

artwork is created and then separated into four colours (CMYK) which combine to create the full spectrum of colours needed for photographic prints. This means a large number of colours can be simulated using only 4 screens, reducing costs, time, and set-up. The inks are required to blend and are more translucent, meaning a compromise with vibrancy of colour.

Glitter/Shimmer

metallic flakes are suspended in the ink base to create this sparkle effect. Usually available in gold or silver but can be mixed to make most colours.

Gloss

a clear base laid over previously printed inks to create a shiny finish.

Metallic

similar to glitter, but smaller particles suspended in the ink. A glue is printed onto the fabric, then nanoscale fibers applied on it.

Mirrored silver

Another solvent based ink, but you can almost see your face in it.

Nylobond

a special ink additive for printing onto technical or waterproof fabrics.

Plastisol

the most common ink used in commercial garment decoration. Good colour opacity onto dark garments and clear graphic detail with, as the name suggests, a more plasticized texture. This print can be made softer with special additives or heavier by adding extra layers of ink. Plastisol inks require heat (approx. 150°C (300°F) for many inks) to cure the print.

PVC and Phthalate Free

relatively new breed of ink and printing with the benefits of plastisol but without the two main toxic components - soft feeling print.

Suede Ink

Suede is a milky coloured additive that is added to plastisol. With suede additive you can make any colour of plastisol have a suede feel. It is actually a puff blowing agent that does not bubble as much as regular puff ink. The directions vary from manufacturer to manufacturer, but generally you can add up to 50% suede additive to your normal plastisol.

Water-Based inks

these penetrate the fabric more than the plastisol inks and create a much softer feel. Ideal for printing darker inks onto lighter coloured garments. Also useful for larger area prints where texture is important. Some inks require heat or an added catalyst to make the print permanent.

All in all, researching the way things are traditionally done helped me have more of a direction on what details I needed to add to create a more credible illustration with the qualities of cel animation technique.

silk screen research:

http://en.wikipedia.org/wiki/Screen_printing

http://www.reuels.com/reuels/Silk_Screen_Printing_Instructions.html

http://www.pneac.org/printprocesses/screen/

http://www.atlasscreensupply.com/screen_printing_supplies.htm

artists:
1) ANDY WARHOL: http://www.warhol.org/
                    
I really like Andy Warhol's artwork. He brought silk screen to life through pop culture. He used the silk screening method that soon became fine art. His work became popular and controversial. I appreciate how Andy Warhol was able to take a common everyday commercial item, such as campbell's soup, and turn it into a a piece of fine art. He was able to make such an ordinary object look beautiful by using and understanding the process of silk screening. Silk screening is a beautiful medium of art, and Andy was really able to use silk screening to its fullest potential. Here is a collection of his artwork: http://www.warhol.org/collection/art/

2) DOUG WEST: http://www.dougwestart.com/index.html

Doug West creates really beautiful silk screens. I love his work because he does silk screens of landscapes. He is able to capture and create the beauty of landscape in a way I have rarely seen before. I think it's really neat how he uses the technique of silk screen to produce such beautiful landscapes. Here is a collection of his work: http://www.dougwestart.com/gallery/galleryLE.html

3) DAVID HOCKNEY: http://www.denisbloch.com/showall.php?id=34

David Hockney is most known for his photo collages, but he did do some silk printing in his art career. I really like the simplicity of David Hockney's silk screen prints. He really worked well with composition, creating fun and playful works of art using silk screen as his medium. Here is one that I particularly like: http://denisbloch.com/pics/hockney__apples_pears_and_grapes.jpg

bedhead | photo 365

relief print | flowers