- Make a decision whether it really is a mistake or whether it adds an unexpected quality to the painting. Consider letting the painting go in its own direction rather than forcing your preconceived thoughts on it.
- If you do want to get rid of something, and you've only just put down the paint, try stimulating it out with a piece of paper towel, absorbent cloth or sponge. Don't rub or press tough as you'll push the paint into the paper. Rather, strike very gently, using the paper towel's ability to absorb liquid (paint). A dry brush will also work -- clean it on a cloth to remove the moisture in it, then put the very tip onto the wet paint; the brush hairs will absorb the paint.
- If the paint has begun to dry, leave it to dry completely. This may appear a counter-intuitive, but by leaving it to dry the paint will be on the surface of the paper and painting. Then take a clean, slightly damp brush (not one that's very wet) and gently brush on the area you want to remove, functioning into an adjacent bit of the painting, then use paper towel to lift the paint.
- If the paint doesn't come off in one go, don't scrub with the brush on the paper as you're possible to damage it. Quite, leave the watercolor to dry and then repeat the process.
- If you believe the whole painting is a disaster but don't want to waste the sheet of paper, submerge it in a bowl of clean water to soak out as much paint as possible. Enlarge the piece of paper again. It'll probably keep a shadow of your previous painting, so it'll be better suited to a dark or colorful scene than a light, bright one.
Thursday, April 15, 2010
How to Fix Mistakes and Remove Errors in a Watercolor Painting
Wednesday, October 14, 2009
Buying Fine Art Oil Reproductions
By Scott Miscall
Have you ever wanted to own an original artistic masterpiece, such as the Mona Lisa by Da Vinci, Starry Night by Van Gogh, or a Madonna by Raphael? As an art collector, or simply as an admirer, you probably know that most of those pieces are already spoken for at a variety of museums across the world. However, what if I told you that it would be possible to have an exact copy that you wouldn't have to pay top dollar for?
If it sounds too good to be true, then keep reading, because it isn't! The truth is that rather than going to the museum and trying to negotiate with a curator, you can purchase a legitimate art reproduction from a reproduction studio. Believe it or not, there is actually a huge market for this type of art reproduction, which means there are a handful of artists that work faithfully to create original reproductions that are affordable.
I know what you are thinking though, art reproduction like this must be printed by a machine, right? Nope! Actually, artists paint these reproductions by hand, which means you can choose from a library of over one hundred reproductions, or you can get a custom quote for a painting of your choice. Generally, these can be created for you for less than one hundred dollars!
I'm a huge fan of the Renaissance period, which means I can have my choice of dozens of the world's most famous paintings. However, if you prefer something more modern, then you can choose from any style of your choosing. Just imagine getting your own Andy Warhol reproduction to show off in your home.
This is also perfect for those of you that consider yourself art collectors. Aside from your astute friends, no one has to know that they aren't original works. Most pieces of art reproduction are exact duplicates of the original, which means that you might as well have the real thing.
It doesn't matter if you like Picasso, Rembrandt, Van Gogh, Dali, or Monet. You can get your own custom reproduction, framed how you prefer, and delivered straight to your door. Use these fine pieces to create become the curator of your own art museum. Art reproduction is completely legal and can save you thousands, if not hundreds of thousands of dollars.
The best part is that you don't have to leave your own home to get your own oil painting. You can buy each and every one of the oil paintings online without ever having to leave your home. You can get your collection started within minutes, which sure beats struggling through an art show or fighting crowds at a local art store. For less than one hundred dollars, you can own a masterpiece. Looking through some of these catalogues, I've got a list of dozens of paintings I can't wait to purchase for my home and office. Check it out for yourself and see what you think. There is something for everyone!
Article Source: http://EzineArticles.com/
Have you ever wanted to own an original artistic masterpiece, such as the Mona Lisa by Da Vinci, Starry Night by Van Gogh, or a Madonna by Raphael? As an art collector, or simply as an admirer, you probably know that most of those pieces are already spoken for at a variety of museums across the world. However, what if I told you that it would be possible to have an exact copy that you wouldn't have to pay top dollar for?
If it sounds too good to be true, then keep reading, because it isn't! The truth is that rather than going to the museum and trying to negotiate with a curator, you can purchase a legitimate art reproduction from a reproduction studio. Believe it or not, there is actually a huge market for this type of art reproduction, which means there are a handful of artists that work faithfully to create original reproductions that are affordable.
I know what you are thinking though, art reproduction like this must be printed by a machine, right? Nope! Actually, artists paint these reproductions by hand, which means you can choose from a library of over one hundred reproductions, or you can get a custom quote for a painting of your choice. Generally, these can be created for you for less than one hundred dollars!
I'm a huge fan of the Renaissance period, which means I can have my choice of dozens of the world's most famous paintings. However, if you prefer something more modern, then you can choose from any style of your choosing. Just imagine getting your own Andy Warhol reproduction to show off in your home.
This is also perfect for those of you that consider yourself art collectors. Aside from your astute friends, no one has to know that they aren't original works. Most pieces of art reproduction are exact duplicates of the original, which means that you might as well have the real thing.
It doesn't matter if you like Picasso, Rembrandt, Van Gogh, Dali, or Monet. You can get your own custom reproduction, framed how you prefer, and delivered straight to your door. Use these fine pieces to create become the curator of your own art museum. Art reproduction is completely legal and can save you thousands, if not hundreds of thousands of dollars.
The best part is that you don't have to leave your own home to get your own oil painting. You can buy each and every one of the oil paintings online without ever having to leave your home. You can get your collection started within minutes, which sure beats struggling through an art show or fighting crowds at a local art store. For less than one hundred dollars, you can own a masterpiece. Looking through some of these catalogues, I've got a list of dozens of paintings I can't wait to purchase for my home and office. Check it out for yourself and see what you think. There is something for everyone!
Article Source: http://EzineArticles.com/
Friday, September 4, 2009
Technique of Watercolor Painting
By John Blenkin
Plan or not to Plan? The outcome of the painting will be vitally affected by the decision to either plan the work or starting head down without any idea how the painting will finish.
It is not a matter of preference but of personality. To a great extent the subject will decide the issue. A painting of a building – a design – a specific place - a record painting – a commissioned painting – will usually lead the painter into an approach where pre-planning naturally results.
In this type of work pre-planning will reduce errors and the target idea will more likely to be realized. Any measured work - enlarging - portraiture – anything technical – animal bird or plant illustrations – are usually best planned beforehand. Professional work to deadline is a pre-planning must.
In general where the subject of the painting has to conform to the requirements or standards of others or to a specified known standard for a fee by a certain date it is best to pre-plan.
In this context the painter will no doubt feel less creative but the painter must have the technique and professional approach to match demands.
This is especially true for the watercolor painter as reduced errors means fewer destructive demands on the paper ground and less repainting over previously washed out work. Please note that a professional buyer will approve the work by viewing it as it were dead – without glass - mount and frame.
Overpainting dulls the light reflecting back through the pigment. Without overpainting the work looks fresher and the craft of it looks easier and under greater control in your hands as a result to the painter’s credit.
Article Source: EzineArticles.com
Plan or not to Plan? The outcome of the painting will be vitally affected by the decision to either plan the work or starting head down without any idea how the painting will finish.
It is not a matter of preference but of personality. To a great extent the subject will decide the issue. A painting of a building – a design – a specific place - a record painting – a commissioned painting – will usually lead the painter into an approach where pre-planning naturally results.
In this type of work pre-planning will reduce errors and the target idea will more likely to be realized. Any measured work - enlarging - portraiture – anything technical – animal bird or plant illustrations – are usually best planned beforehand. Professional work to deadline is a pre-planning must.
In general where the subject of the painting has to conform to the requirements or standards of others or to a specified known standard for a fee by a certain date it is best to pre-plan.
In this context the painter will no doubt feel less creative but the painter must have the technique and professional approach to match demands.
This is especially true for the watercolor painter as reduced errors means fewer destructive demands on the paper ground and less repainting over previously washed out work. Please note that a professional buyer will approve the work by viewing it as it were dead – without glass - mount and frame.
Overpainting dulls the light reflecting back through the pigment. Without overpainting the work looks fresher and the craft of it looks easier and under greater control in your hands as a result to the painter’s credit.
Article Source: EzineArticles.com
Thursday, August 27, 2009
How to Create a Reverse Painting on Glass
By Mayanne Mackay
Introduction:
Glass is a non-absorbent painting support which does not allow paint to easily adhere to it - apart from through the paint's own drying process.
For this reason the outlines of a subject painted on glass need to be simplified when applied to an extremely smooth glass surface. Simplifying a subject does not necessarily detract from the end result after the painting is completed and the final result can often have an appearance similar to that of naive art in relation to composition and form and a certain number of other details. Many artists may find that such simplification can actually be very appealing.
Working the paint or changing outlines without smudging the surrounding areas of undried paint may require some concentration in the beginning, as well as a certain amount of skill, but with patience and the development of their skills using this painting technique, artists will find that applying and mastering the use of glass as a support will become easier as time progresses.
MATERIALS REQUIRED FOR PAINTING ON GLASS
Glass
Choose clear unflawed glass (or plexiglass) in the shape and size you wish to use. In order to begin mastering the technique of reverse painting it is advised to choose smaller sizes to begin with.
Paints
It is important to use a paint that will adhere properly to the surface of the glass. Oil based paints or acrylics are often used for this reason.There are also opaque and transparent ceramic artist colours that have been especially manufactured for using on a non-absorbent surface. Metallic colours (eg. gold, silver or copper) can also be interesting to work with. There are an increasing number of new art products available today that may be suitable for painting on a non-absorbent surface such as glass.
Paintbrushes
To begin choose a selection of small or medium-sized paintbrushes with fine, flat and pointed tips. Larger brushes can be used for working on a larger scale. Artists can also use less conventional tools for applying paint if they wish, depending on the effects obtained through experimentation that may interest them.
A penholder
Used for outlines (if required) and finer details. It can be an advantage to use interchangeable nibs suitable for creating both thick and thin outlines.
Ink for creating outlines on glass
The inks used need to be suitable for applying to a non-absorbent surface such as glass. As an alternative paint can also be thinned down into a more liquid form and used for creating outlines in which case attention must be given to to creating the right mixture of fluidity and thickness.
A painting palette or something similar to mix your paint on.
A palette knife -(optional) for mixing paint.
Artists paint cleaner or thinner - used for cleaning or sometimes for thinning, and depending on whether oil based or water-based paints are used.
A paint-drying agent - (optional) For mixing with paints to help speed up the drying process
Paper towelling or some clean rags
A mirror - (optional) can be used to check the progress of your painting while you are continuing to work. Place the mirror in a position where it will reflect your artwork from its viewing side.
Cellotape - or a similar average-width sticking tape
An easel - (optional) to prop your work on
A glass-cleaning product
PREPARING THE GLASS
Choose a piece of clear glass in the dimensions you would like to work with and check carefully to make sure the glass is neither scratched nor flawed. It is worthwhile remembering that a flaw in the glass itself will often detract from the finished appearance of a painting and may be impossible to remove after the completion of your artwork.
The sheet of glass that is to become your artwork constitutes the following:
(1) The 'painting side' - which is the side you will be painting on.
(2) The 'viewing side' - which is the side you will be looking at (or through) as you progress with your work and after it has been completed.
To render the cutting edges of the glass safe take a length of cellotape that will correspond to the length of one edge. Apply it carefully along that length (ideally so that it is folded equally over each side of the glass).
Repeat this procedure for the other 3 glass edges. The edge of the cellotape will also help mark the outer limits of your artwork.
Clean the surface of the glass thoroughly with a glass-cleaning product. Use paper towelling or any cleaning material that will not leave dust or threads on your painting surface.
Store the glass where it will be safe. If placed between sheets of newspaper it will be protected from scratches and dust.
CREATING OUTLINES
Art products in liquid form that are suitable for creating outlines on glass may be readily available in some countries. Oil-based paint,water-based acrylic and ceramic paint can also be used for this purpose.In order to create fine lines these paints must sometimes be thinned down in order to use with a pen nib or similar line-drawing tool.
To prevent lines from being effaced too easily you can use a paint that is oil based for creating the outlines of your subject if the paint you will be applying over the top of it (after it has properly dried) is water based. Reverse this procedure if your outlines are created with a water-based paint.
Always use a liquid paint product that will provide the best adhesion possible to a glass surface.
Due to pen nibs clogging relatively easily, attention must be paid to cleaning the nibs regularly.
OUTLINE METHODS
Method 1.
If you have a steady hand you can use a freehand method for applying outlines directly onto the surface of the glass.
Method 2.
Use an original subject for your painting (e.g. a drawing) and place this under the glass then copy it onto the glass surface.
Method 3.
Place a layer of carbon-paper on top of the glass then place your drawing on top of the carbon paper and with a pointed object trace the subject onto the glass. Be careful not to damage your original image (the image being copied) when using a pointed object.
Method 4.
A tracing table can be used for creating outlines. This is a table with a sheet of clear glass inserted into the top and with an electric light source situated beneath it. For those who frequently need to trace their work a tracing table can be very practical and useful.
Method 5.
You can omit outlines altogether.
APPLYING THE PAINT
Most artists have a preference for how to work when creating an artwork. Once it has been decided whether to work on a table or use a table-easel or a standing easel, it will be necessary to view the artwork regularly from its observation side in order to see its progress.
Some artists simply take the glass in their hands and turn it around to look at it directly from the observation side. Others prefer to use a mirror placed directly opposite their working area so that they can observe their progress while they paint.
Mixing and blending
If you are blending colours always do so on a palette or similar flat object before applying them to the glass. If colours are not well blended or mixed the result will be a streaky appearance in the paint on the observation side of the glass.
Avoiding smudges
When creating a reverse painting on glass it is important to watch out for smudges or particles of dirt or dust that may accidentally be transferred onto unpainted areas of your artwork as you are progressing. Unless removed these may appear as flaws that will show when viewing the artwork from its observation side. If they are also inadvertently covered with a layer of paint removing them afterwards may become very messy and difficult. When lifting off any smudges always be careful not to damage outlines or other areas of paint you have already applied.
Applying the paint
Once the outlines of your subject have thoroughly dried you can begin to apply paint to fill in the remainder of your artwork. Begin with the smallest and most detailed or intricate areas first e.g. eyes, faces, small figures or objects etc - and always keep in mind that your artwork will be observed from the opposite side to the one your painting on and that you are painting in reverse and that therefore foregrounds precede backgrounds.
When applying the reverse painting method it is a good policy to reflect carefully on the sequence in which your painting will develop before beginning to apply your paint. This will create a methodical attitude that is essential for this particularly interesting but also intricate painting technique.
Wishing you many pleasant hours of reverse painting!
Article Source: http://EzineArticles.com/?expert=Mayanne_Mackay http://EzineArticles.com/?How-to-Create-a-Reverse-Painting-on-Glass&id=47381
Introduction:
Glass is a non-absorbent painting support which does not allow paint to easily adhere to it - apart from through the paint's own drying process.
For this reason the outlines of a subject painted on glass need to be simplified when applied to an extremely smooth glass surface. Simplifying a subject does not necessarily detract from the end result after the painting is completed and the final result can often have an appearance similar to that of naive art in relation to composition and form and a certain number of other details. Many artists may find that such simplification can actually be very appealing.
Working the paint or changing outlines without smudging the surrounding areas of undried paint may require some concentration in the beginning, as well as a certain amount of skill, but with patience and the development of their skills using this painting technique, artists will find that applying and mastering the use of glass as a support will become easier as time progresses.
MATERIALS REQUIRED FOR PAINTING ON GLASS
Glass
Choose clear unflawed glass (or plexiglass) in the shape and size you wish to use. In order to begin mastering the technique of reverse painting it is advised to choose smaller sizes to begin with.
Paints
It is important to use a paint that will adhere properly to the surface of the glass. Oil based paints or acrylics are often used for this reason.There are also opaque and transparent ceramic artist colours that have been especially manufactured for using on a non-absorbent surface. Metallic colours (eg. gold, silver or copper) can also be interesting to work with. There are an increasing number of new art products available today that may be suitable for painting on a non-absorbent surface such as glass.
Paintbrushes
To begin choose a selection of small or medium-sized paintbrushes with fine, flat and pointed tips. Larger brushes can be used for working on a larger scale. Artists can also use less conventional tools for applying paint if they wish, depending on the effects obtained through experimentation that may interest them.
A penholder
Used for outlines (if required) and finer details. It can be an advantage to use interchangeable nibs suitable for creating both thick and thin outlines.
Ink for creating outlines on glass
The inks used need to be suitable for applying to a non-absorbent surface such as glass. As an alternative paint can also be thinned down into a more liquid form and used for creating outlines in which case attention must be given to to creating the right mixture of fluidity and thickness.
A painting palette or something similar to mix your paint on.
A palette knife -(optional) for mixing paint.
Artists paint cleaner or thinner - used for cleaning or sometimes for thinning, and depending on whether oil based or water-based paints are used.
A paint-drying agent - (optional) For mixing with paints to help speed up the drying process
Paper towelling or some clean rags
A mirror - (optional) can be used to check the progress of your painting while you are continuing to work. Place the mirror in a position where it will reflect your artwork from its viewing side.
Cellotape - or a similar average-width sticking tape
An easel - (optional) to prop your work on
A glass-cleaning product
PREPARING THE GLASS
Choose a piece of clear glass in the dimensions you would like to work with and check carefully to make sure the glass is neither scratched nor flawed. It is worthwhile remembering that a flaw in the glass itself will often detract from the finished appearance of a painting and may be impossible to remove after the completion of your artwork.
The sheet of glass that is to become your artwork constitutes the following:
(1) The 'painting side' - which is the side you will be painting on.
(2) The 'viewing side' - which is the side you will be looking at (or through) as you progress with your work and after it has been completed.
To render the cutting edges of the glass safe take a length of cellotape that will correspond to the length of one edge. Apply it carefully along that length (ideally so that it is folded equally over each side of the glass).
Repeat this procedure for the other 3 glass edges. The edge of the cellotape will also help mark the outer limits of your artwork.
Clean the surface of the glass thoroughly with a glass-cleaning product. Use paper towelling or any cleaning material that will not leave dust or threads on your painting surface.
Store the glass where it will be safe. If placed between sheets of newspaper it will be protected from scratches and dust.
CREATING OUTLINES
Art products in liquid form that are suitable for creating outlines on glass may be readily available in some countries. Oil-based paint,water-based acrylic and ceramic paint can also be used for this purpose.In order to create fine lines these paints must sometimes be thinned down in order to use with a pen nib or similar line-drawing tool.
To prevent lines from being effaced too easily you can use a paint that is oil based for creating the outlines of your subject if the paint you will be applying over the top of it (after it has properly dried) is water based. Reverse this procedure if your outlines are created with a water-based paint.
Always use a liquid paint product that will provide the best adhesion possible to a glass surface.
Due to pen nibs clogging relatively easily, attention must be paid to cleaning the nibs regularly.
OUTLINE METHODS
Method 1.
If you have a steady hand you can use a freehand method for applying outlines directly onto the surface of the glass.
Method 2.
Use an original subject for your painting (e.g. a drawing) and place this under the glass then copy it onto the glass surface.
Method 3.
Place a layer of carbon-paper on top of the glass then place your drawing on top of the carbon paper and with a pointed object trace the subject onto the glass. Be careful not to damage your original image (the image being copied) when using a pointed object.
Method 4.
A tracing table can be used for creating outlines. This is a table with a sheet of clear glass inserted into the top and with an electric light source situated beneath it. For those who frequently need to trace their work a tracing table can be very practical and useful.
Method 5.
You can omit outlines altogether.
APPLYING THE PAINT
Most artists have a preference for how to work when creating an artwork. Once it has been decided whether to work on a table or use a table-easel or a standing easel, it will be necessary to view the artwork regularly from its observation side in order to see its progress.
Some artists simply take the glass in their hands and turn it around to look at it directly from the observation side. Others prefer to use a mirror placed directly opposite their working area so that they can observe their progress while they paint.
Mixing and blending
If you are blending colours always do so on a palette or similar flat object before applying them to the glass. If colours are not well blended or mixed the result will be a streaky appearance in the paint on the observation side of the glass.
Avoiding smudges
When creating a reverse painting on glass it is important to watch out for smudges or particles of dirt or dust that may accidentally be transferred onto unpainted areas of your artwork as you are progressing. Unless removed these may appear as flaws that will show when viewing the artwork from its observation side. If they are also inadvertently covered with a layer of paint removing them afterwards may become very messy and difficult. When lifting off any smudges always be careful not to damage outlines or other areas of paint you have already applied.
Applying the paint
Once the outlines of your subject have thoroughly dried you can begin to apply paint to fill in the remainder of your artwork. Begin with the smallest and most detailed or intricate areas first e.g. eyes, faces, small figures or objects etc - and always keep in mind that your artwork will be observed from the opposite side to the one your painting on and that you are painting in reverse and that therefore foregrounds precede backgrounds.
When applying the reverse painting method it is a good policy to reflect carefully on the sequence in which your painting will develop before beginning to apply your paint. This will create a methodical attitude that is essential for this particularly interesting but also intricate painting technique.
Wishing you many pleasant hours of reverse painting!
Article Source: http://EzineArticles.com/?expert=Mayanne_Mackay http://EzineArticles.com/?How-to-Create-a-Reverse-Painting-on-Glass&id=47381
Monday, August 17, 2009
Buying an Art Reproduction: The Giclee
By David Lucht
If you have been shopping recently for affordable fine art either online, at art fairs or galleries, you’ve probably come across the term “giclee”. This process can produce lovely and fairly accurate reproductions of fine art, usually at very affordable prices. “Giclee” (pronounced “zhee-CLAY”) is a French term referring to the small spray from the ink-jet printer. The emergence of high quality ink-jet printing as the major method for fine art reproduction has brought with it some ethical issues for the artist, and some need for education on the part of the art public.
Currently in the community of artists there is much discussion about the fundamental validity of this medium of graphic reproduction. Many traditional fine art printers argue against presenting the giclée as an art object on the level of other fine print media in the graphics category such as fine art lithography, etching, seriography silkscreen) and the like. They are correct in stating that these methods of creating original, graphical works are a true fine art, as contrasted with the mechanical and technical reproduction process of giclée. Unfortunately, some artists are blurring the lines in an attempt to sell their reproductions as some version of ‘fine art’.
When the two worlds of original art and mechanical reproduction are kept in strict quarantine the ethical issues are not so messy. Problems arise with the various hybrids of manipulated digital prints, some of which tread on very suspect ethical grounds by claiming to be “painted by the artist’s own hand”. In some cases a forced legitimacy is attempted with rigged names like “original limited editions”. Certainly an ink-jet print that has been painted to recreate the same ‘tactile quality’ and presented as some sort of quasi-original flirts with fraud. And the outrageous price structure of some artists with international franchises that misrepresent giclées in this way as a part of their marketing strategy have to be called to account for a serious ethical lapse. These prints are on the same level as those old mass- produced “texture of real paint” posters that were printed on a paper with simulated impasto brush strokes. But at least with those you still knew that you were dealing with a commercial print.
I’ll leave aside other hybrid creations; Photoshop® manipulations, digital collage, multimedia using giclée prints, etc. These types of work need to be analyzed on their own merits, though my bias towards the physicality of traditional media leaves me distinctly chilled in front of most of these pieces born of the computer. Having said all this, the giclee has its place as reproduction. It is certainly not a work of art, rather an image of a work of art. It is also not necessarily a cheap reproduction. A properly produced, high-end inkjet print using archival inks is a much higher quality, and longer lasting, print than a cheap offset poster.
My view is that the primary issues here are those of education and honesty. The art buyer must understand the precise nature of what they are buying when they select an inkjet print. I think it is correct to state that the artist is in ethical lapse when the giclee is presented as something more than a reproduction. Issues such as documenting the use of archival inks and paper, the size of the print run, must be addressed. They require the artist to care enough, to have the ethical backbone, to provide proper credentials from their printer and stick to strict, clearly visible limits on the size of their editions.
While I understand the potential for fraud, art reproduction plays a vital role in extending the reach and impact of original work upon a larger number of potential art appreciators and buyers. My personal experience is that my introduction to the art world proceeded through a very typical process whereby I first met art in textbooks and even (no!) through cheap poster prints on college room walls. The next level involved seeking out the original (in my case finding Picasso’s “Blue Guitarist” at the Art Institute of Chicago after having a profound encounter with the image in a textbook) and noting the significantly greater impact that the original work engendered.
This process of developing a greater and more intimate relationship with works of art is natural and frequently involves encounters with these lesser quality reproductions. It can continue if the person so engaged enters the market as an art buyer. Now a new set of issues present themselves, among which are: emotional response, price and quality. Here we find the giclée meeting its most important function (if it is properly presented and understood as a high-quality reproduction) and that is; to bridge the gap between the original work of art (with its sometimes imposing price tag) and the desire to own an image of the original that provides a similar emotional impact. We can’t simply say if you can’t afford the original you are hereby banished until you can.
Article Source: EzineArticles.com
If you have been shopping recently for affordable fine art either online, at art fairs or galleries, you’ve probably come across the term “giclee”. This process can produce lovely and fairly accurate reproductions of fine art, usually at very affordable prices. “Giclee” (pronounced “zhee-CLAY”) is a French term referring to the small spray from the ink-jet printer. The emergence of high quality ink-jet printing as the major method for fine art reproduction has brought with it some ethical issues for the artist, and some need for education on the part of the art public.
Currently in the community of artists there is much discussion about the fundamental validity of this medium of graphic reproduction. Many traditional fine art printers argue against presenting the giclée as an art object on the level of other fine print media in the graphics category such as fine art lithography, etching, seriography silkscreen) and the like. They are correct in stating that these methods of creating original, graphical works are a true fine art, as contrasted with the mechanical and technical reproduction process of giclée. Unfortunately, some artists are blurring the lines in an attempt to sell their reproductions as some version of ‘fine art’.
When the two worlds of original art and mechanical reproduction are kept in strict quarantine the ethical issues are not so messy. Problems arise with the various hybrids of manipulated digital prints, some of which tread on very suspect ethical grounds by claiming to be “painted by the artist’s own hand”. In some cases a forced legitimacy is attempted with rigged names like “original limited editions”. Certainly an ink-jet print that has been painted to recreate the same ‘tactile quality’ and presented as some sort of quasi-original flirts with fraud. And the outrageous price structure of some artists with international franchises that misrepresent giclées in this way as a part of their marketing strategy have to be called to account for a serious ethical lapse. These prints are on the same level as those old mass- produced “texture of real paint” posters that were printed on a paper with simulated impasto brush strokes. But at least with those you still knew that you were dealing with a commercial print.
I’ll leave aside other hybrid creations; Photoshop® manipulations, digital collage, multimedia using giclée prints, etc. These types of work need to be analyzed on their own merits, though my bias towards the physicality of traditional media leaves me distinctly chilled in front of most of these pieces born of the computer. Having said all this, the giclee has its place as reproduction. It is certainly not a work of art, rather an image of a work of art. It is also not necessarily a cheap reproduction. A properly produced, high-end inkjet print using archival inks is a much higher quality, and longer lasting, print than a cheap offset poster.
My view is that the primary issues here are those of education and honesty. The art buyer must understand the precise nature of what they are buying when they select an inkjet print. I think it is correct to state that the artist is in ethical lapse when the giclee is presented as something more than a reproduction. Issues such as documenting the use of archival inks and paper, the size of the print run, must be addressed. They require the artist to care enough, to have the ethical backbone, to provide proper credentials from their printer and stick to strict, clearly visible limits on the size of their editions.
While I understand the potential for fraud, art reproduction plays a vital role in extending the reach and impact of original work upon a larger number of potential art appreciators and buyers. My personal experience is that my introduction to the art world proceeded through a very typical process whereby I first met art in textbooks and even (no!) through cheap poster prints on college room walls. The next level involved seeking out the original (in my case finding Picasso’s “Blue Guitarist” at the Art Institute of Chicago after having a profound encounter with the image in a textbook) and noting the significantly greater impact that the original work engendered.
This process of developing a greater and more intimate relationship with works of art is natural and frequently involves encounters with these lesser quality reproductions. It can continue if the person so engaged enters the market as an art buyer. Now a new set of issues present themselves, among which are: emotional response, price and quality. Here we find the giclée meeting its most important function (if it is properly presented and understood as a high-quality reproduction) and that is; to bridge the gap between the original work of art (with its sometimes imposing price tag) and the desire to own an image of the original that provides a similar emotional impact. We can’t simply say if you can’t afford the original you are hereby banished until you can.
Article Source: EzineArticles.com
Monday, August 10, 2009
Fun Ideas For Stag and Hen Parties
By Victoria Cochrane
It's one of the most exciting events on the run up to any wedding, and certainly an experience that'll be looked back upon for years. Indeed, a stag or hen party is a quintessential part of wedding planning - so it's worth making it an event to truly cherish and remember - both for the bride and groom to be, as well as all the party participants.
There are, of course, many ways to plan a stag or hen party. But a good place to start is with ideas of what the bride or groom might like. If he or she isn't big on parties, then planning a wild and crazy night out on the town isn't going to give them the type of stag or hen do that they'd enjoy. Get all the party-planners together to brainstorm a list of activities the bride and groom might like, and proceed with your planning from there.
If you want to veer away from the party scene - or if you simply want to include a range of activities during a stag weekend - you might want to consider a golfing getaway. Due to its affordability and availability both in the UK and throughout Europe - such as in Hungary, Latvia, and Poland - golfing is a popular activity for stag parties. Include it as a day activity on a weekend getaway, or make it the focus of a stag weekend. Either way, it's fun and a great way for the lads to bond.
On the other hand, if you're hoping to plan a low-key or classy hen party, why not opt for a spa retreat? Spa getaways are perfect for relaxing, rejuvenating, and pampering the bride-to-be, as well as all her friends. A spa retreats can also be paired with a shopping trip, a yoga or Pilates class, and a stop at the nail salon for a truly memorable ladies' day out. And, as with golfing getaways, spa retreats can be planned as a one-day event or an extended getaway.
Another great activity - both for stag and hen parties - is to go wine tasting. Aside from interesting tours of regional wineries and the opportunity to taste some exceptional wines, wine-tasting can be paired with fine dining - either at the wineries themselves, of at nearby restaurants - for a classy and cultural stag or hen do.
Article Source: EzineArticles.com
It's one of the most exciting events on the run up to any wedding, and certainly an experience that'll be looked back upon for years. Indeed, a stag or hen party is a quintessential part of wedding planning - so it's worth making it an event to truly cherish and remember - both for the bride and groom to be, as well as all the party participants.
There are, of course, many ways to plan a stag or hen party. But a good place to start is with ideas of what the bride or groom might like. If he or she isn't big on parties, then planning a wild and crazy night out on the town isn't going to give them the type of stag or hen do that they'd enjoy. Get all the party-planners together to brainstorm a list of activities the bride and groom might like, and proceed with your planning from there.
If you want to veer away from the party scene - or if you simply want to include a range of activities during a stag weekend - you might want to consider a golfing getaway. Due to its affordability and availability both in the UK and throughout Europe - such as in Hungary, Latvia, and Poland - golfing is a popular activity for stag parties. Include it as a day activity on a weekend getaway, or make it the focus of a stag weekend. Either way, it's fun and a great way for the lads to bond.
On the other hand, if you're hoping to plan a low-key or classy hen party, why not opt for a spa retreat? Spa getaways are perfect for relaxing, rejuvenating, and pampering the bride-to-be, as well as all her friends. A spa retreats can also be paired with a shopping trip, a yoga or Pilates class, and a stop at the nail salon for a truly memorable ladies' day out. And, as with golfing getaways, spa retreats can be planned as a one-day event or an extended getaway.
Another great activity - both for stag and hen parties - is to go wine tasting. Aside from interesting tours of regional wineries and the opportunity to taste some exceptional wines, wine-tasting can be paired with fine dining - either at the wineries themselves, of at nearby restaurants - for a classy and cultural stag or hen do.
Article Source: EzineArticles.com
Tuesday, August 4, 2009
Most Expensive Paintings that ever sold till now all over the world
- No. 5, 1948
- Portrait of Adele Bloch-Bauer
- Garçon à la Pipe
- Dora Maar with Cat
- Portrait of Dr. Gachet
- Bal Au Moulin de la Galette
- Massacre of the Innocents
- Portrait de l'Artiste sans Barbe
- Rideau, Cruchon et Compotier
- Femme aux Bras Croisés
This is most expensive painting that ever sold :
Pollock had painted this painting with his own unique style in the Post-War climate that was a radical departure from his peers.
No. 5, which was painted in 1948, is was one of his most basic examples of drip painting, which consisted of using his body to move the paint over the canvas.
The details of this painting sale were kept very private, but rumor has it that the buyer is Mexican financier and art collector David Martinez, and that he paid a huge $140 million, which with inflation now totals $142.7 million.
Pollock had painted this painting with his own unique style in the Post-War climate that was a radical departure from his peers.
No. 5, which was painted in 1948, is was one of his most basic examples of drip painting, which consisted of using his body to move the paint over the canvas.
The details of this painting sale were kept very private, but rumor has it that the buyer is Mexican financier and art collector David Martinez, and that he paid a huge $140 million, which with inflation now totals $142.7 million.
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