Prints that resemble pen and ink drawings

Artists who helped the early explores of the West left many remarkable line drawings of the region. The simple style of the sketches gave good detail and produced pictures that were very eye-catching. By experimenting with tone separations on litho films and with the proper masking, some very interesting prints that resemble these drawings of the old artists have been producted. A good negative, preferably of a subject that was cross lighted to show the texture, is required. The work that follows in the darkroom is not too difficult for the darkroom technician who has experience with the proper processing of litho film.

Materials

An original negative as described above, preferably 4×5-inch.

A contact printer equipped with registration pins.

A negative carrier equipped with registration pins.

A paper punch to punch holes in the negatives that will fit the registration pins.

Litho sheet film, type 3.

Print paper, type based on personal preference. I prefer Ektalure R.

Procedure

Three tone separation contact prints (positives) have to be made using litho film – one for the deep shadows, one that contains the deep shadows plus the midtones and one that contains all the tones from deep shadow through highlights. To make these positives, punch the original negative to fit the pins of the registration system. Align and punch the litho films as they are used to make the contracts with the original negative.

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For the deep shadows expose the litho film just enough to print the deep shadows. The exposure time will have to be determined by trial. The enlarger makes a very good light source and is easily controlled.

For the midtones expose a second piece of litho film in contact with the original negative as before, but add about three or four seconds of exposure time. This should produce a litho that contains the shadow areas and some of the lower midtones.

For the highlights, make another contact using the same original negative on a third piece of litho. Increase the exposure photography tips for antelope canyon time again about four seconds.

When the above contacts have been processed and dried, they will be used to make three more contact prints (negatives) on litho film. Make the contact print of each of the litho positives using an exposure that will give dense blacks and clear, unexposed areas on the negative. Process the contacts in litho developer and opaque any pin holes that may appear.

Printing

Place the litho highlight negative on the pins of the enlarger’s negative carrier along with the litho positive of the midtones to provide a mask. Focus the image on the easel photography tips for portraits and make an exposure that will print the lines solid black. Remove the above litho films from the enlarger and replace them with the deep shadow negative. Make a second exposure on the same piece of print paper using the same time and lens opening and process the print normally. The easel cannot be moved between exposures so it is advisable to tape the easel to the base of the enlarger.

If a thinner line in the print is desired, use the highlight litho positive and the highlight litho negative together for the first exposure. When using this pair together it will be necessary to have the film backs in contact with each other. This will increase the distance between the film emulsions and cause some light to be diffused into the clear areas of the negative. This procedures a very fine-line drawing. If the lines with this combination are too fine, a piece of matte acetate, cut to the same size as the litho films and punched to fit the registration pins. can be placed between the litho positive and the litho negative to further diffuse the light. An exposure of this combination will give a thin line that is solid.

With a bit of a patience, practice and darkroom time, you’ll soon be producing prints that resemble pen and ink drawings.

Participate in PSA

Tone line prints, some of which resemble pen and ink drawings, are one of several control processes with which members of the Experimenters’ Group work. In sharing the results of their experiments, members learn from one another. In addition to control processes, members experiment with old-time processes and modern processes and products. Anyone interested in photographic experimentation should write to Raymond Drew, Director of Experimenters’s Groups, 8263 Lucienne Drive, Stockton, California 95212. The yearly membership fee is $3.

Also, the Pictorial Print Division of the American Portfolios include one portfolio exclusively for prints made by control processes. Any control photography tips holding camera processes, including tone line, tone separation, or solarization, may be used. Prints are critiqued by members of the portfolio and by a commentator skilled in control process. Those interested should contact Elwood D. Hannah, Director of American Portfolios, 20300 N.W. Mann Avenue, Portland, Oregon 97231.

1989 Photographic Society of America Regional Convention

Photographers have three major characteristics – an insatiable curiosity, friendliness and wanderlust. Combine these attributes with instruction by qualified photographers who are willing and able to share their expertise, an atmosphere of convivial fellowship and a setting that shouts, “It’s photo time in |89,” and you get the PSA Regional Convention in Spokane, Washington, June 8-11.

Gather your equipment, pack a large bag of film, load those caring individuals who share your hobby and come prepared to experience what is so often mentioned in our community: “Miracles, magic and meaning.” The only thing you may need to temper is enthusiasm! Can it be a coincidence that the PSA Regional Convention coincides with our Centennial Celebration, or is that, too, part of the magic?

Spokane was originally named Spokan Falls, after the Spokan-ee “Children of the Sun” Indian tribe. It is a metropolitan area of 350,000, hub of the Inland Empire and an All-American City. The area’s economy is based on lumber, mining, agriculture and services. Spokane is the regional center for transportation, finance and culture. This area has nearly 200 days of sunshine per year and the average temperature in June is 61 degrees Fahrenheit. Spokane is easily accessible by rail, highway or airlines. It is a great place to come and relax (barring undue enthusiasm).

This second-largest city in Washington is in a setting of jewelled contrasts stretching from the west plains area to the big water and mountain land of Idaho, a distance of about 25 miles. A look in any direction will verify the diversity of this region. Spokane has the distinction of being the ONLY city in the United States that is surrounded by 17 national parks, all within a radius of 500 miles.

“Beautiful Mount Spokane” is the first state park east of the Cascade Range. The mountain view is spectacular and a year-round attraction. From the summit may be seen: two countries (United States and Canada), there states (Washington, Idaho and Montana), two mountain ranges and eight lakes, In winter, it is a favorite recreation area for down-hill and cross-country skiing, snowmobiling or sledding. Summer hikers are rewarded with a variety of plants and animals.

Southern exposure will lend itself to farmland that yields one-fourt of the nation’s soft wheat. This abundance may be viewed from famed Steptoe Butte, which offers an unobstructed panorama of golden fields basking in warm, rich sunlight. Travelling east, we see fabulous Lake Coeur d’ Alene, and the world’s longest boardwalk. Catching fish or “soothing the senses” may be done at any of the 76 fresh-water lakes within a 50 miler radius of our city.

If photographing mesa and desert is your forte, journey to Grand Coulee Dam, world’s largest concrete structure, built in the 1930s. Franklin D. Roosevelt Lake, created by the dam. stretches 151 miles to the Canadian border and affords ideal boating, skiing, sailing and fishing. At night, the spillway gates are opened and hundreds of multi-colored lights illuminate the cascading water. Or you could drive through Washington’s “scablands,” a geologic feature found nowhere else in the world. Canyons, deep ravines and tumbled rock formations are the result of flood waters from a huge, prehistoric lake in Montana. The whole episode took only one week!

Are you beginning to capture the photography lighting tips outdoor spirit of miracles and magic? Magic conjures up what has always been here, and miracles enable us to see it. What gives our area MEANING is its people! But we digress. Come along and let’s explore Spokane proper, our immediate magical center. Spokane ranks among the “top ten” in a variety of areas, all of them photogenic. What better opportunity awaits than combining your vacation with the PSA Regional Convention?

In 1974, Spokane staged an International World Exposition and developed the 100-acre Riverfront Park. Within easy walking distance from the Convention site, Riverfront Park is Spokane’s favorite meeting palce. The cascading river lends old-world charm in a natural park setting. The Imax Theater, with its five-story screen, the world’s largest projection system, offers a variety of shows. The Pavilion, with its lacy “roof,” is one of the architectural reminders of the Fair. The park’s 1909 hand-carved Looff carrousel is one of the oldest in use and is comprised of a giraffe, a tiger, and 54 horses. Youngsters are spellbound as they dip and rise to the sound of organ music. Oldsters reminisce about how it used to be when they tossed the “gold ring” in former days.

Are you adventurous enough to take the gondola ride over the “falls” or would you prefere to view them from one of the footbridges? In the park, you also can tour the Science Center, languish in the shade of the Great Northern Clock Tower listening to the street entertainment, or feed the ducks. Can you envision hot air balloons rising in the quiet dawn among Spokane’s monuments or doing “splash and dash” on the river before ascending into clear blue skies” It’s magic!

Ready to move on? Insert another roll of film, and take the “city tour.” St. John’s Cathedral ranks among the finest examples of English Gothic architecture – a stone structure built to “last 1,000 years” and, amazingly, completed in one generation. It houses the only carillon in Washington which is not pneumatically or electronically assited – good old hand power for this one.

Centrally located Manito Park is the primary garden showplace in Spokane. It has a new aluminum and glass conservatory housing tropical plant specimens as well as seasonal displays. About the grounds are the perennial garden, a rose garden, the lilac garden and the formal Duncan garden with manicured lawn and symetrically balanced “annual” flower beds. Spokane’s Japanese Garden symbolizes the friendship of our “Sister City,” Nishinomiva, Japan. (They honor us with a lilac garden, which is the symbol of our city.)

If a less formal garden atmosphere is to your liking, journey into Finch Arboretum, 65 acres of beautiful rolling treeland along Garden Springs Creek. The arboretum houses more than 2,000 labeled trees and shrubs representing 600 species. It is especially beautiful in the fall as there are 25 varieties of maples, but peace and quietude present a year-round respite.

Relive Spokane’s “Age of Elegance” by visiting Campbell House, just one of Spokane’s varied architectural styles, or tour Cheney Cowles Memorial Museum nearby. View the exhibits, crafts, and displays at the Museum of Native American Cultures (MONAC). Four floors, representing 3,000 years of native American history, contain the nation’s largest collection of North American trade beads, war bonnets, and 19th and 20th Century art.

More miracles? We have interests that run the gamut of sports, recreation and entertainment. Spokane hosts the world’s largest “fun run” road race (Bloomsday), international bike races, and a Grand Prix. We have world class auto racing, baseball and hockey teams, polo grounds, and seven beautiful golf courses. The Opera House is the setting for musical and stage shows while the Civic Theater and Spokane Interplayers offer dramatic productions. The Spokane Symphony performs concerts on Riverfront Park’s floating stage, providing “serious” music, evenings with “pops” and children’s specials.

Another feature of our downtown area is the Skywalk system which connects 15 city blocks on the second level for access to specialty shops, department stores and restaurants. It is the second-largest such system in the world. Mayor Vicki McNeill said it all, “The mystique of Spokane – its magic – is that its people can get together and accomplish what seems impossible.”

In 100 years, we have come from frontier to a wide spot in the road. We’re proud of our accomplishments and we wish to share who we are and what we do. Consider the PSA Regional Convention, June 8-11, as your summer destination. The Ridpath Hotel and Motor Inn, in the heart of downtown Spokane, will be the home to the Convention. It features spacious meeting rooms, excellent banquet facilities and fine food. “C’mon in and sit a spell – your room is ready.”

Additional information will be forthcoming in the March PSA Journal regarding speakers and the programs they will be presenting, field trips, special features, registration and hotel reservation forms. If your enthusiasm cannot be contained and you desire more information prior to the March article, contact: Vee Nealey, Chairman, PSA Inland Empire Chapter, West 3231 Boone Ave, Space 810, Spokane, Washington 99201.

Three Tips for Using a Wide Angle Lens

Well one the most challenging things for any photographer is shooting with a wide angle lens. Now the reason for that is we tend to think of wide angle lenses as lenses that can get everything in the shot and that’s fantastic, but one of the problems with that is when we get everything in the shot sometimes, and a lot of the times actually.

We just don’t have any subjects so we just have everything in and really nothing draws our eye into the photo so in this episode I’m going to give you three tips to get the most out of your wide-angle lens and first I’m going to show you some photos I’ve shot with a couple wide angle lenses. And then we are gonna put it into practice I’m going to be walking the streets and shooting with my 21mm lens right here. Well first we will take a look at a few shots and walk through the three things that you can do to get the most out of your lens. The first thing is to make sure you have a dominant or predominant subject in your photo. Now one of my favorite wide-angle lenses is the Canon 16-35mm lens and I’ve shot all over the world with that. I shot this image of Machu Picchu with that lens and notice that Machu Picchu is obviously the subject of this photo but using a wide angle lens, I get everything in that shot.

I also was able to take that to the Amazon rainforest and I shot this image. A couple of images of a River but notice I don’t just have the entire river I haven’t anchor to those photos those are the boats that are on the shore, so I’m anchoring that wide angle shot with a dominant subject. The boats. Now I’m also able to use this shot in a very busy, commercial complex in downtown Bangkok and noticed this street we have this sort of a three-dimensional effect the wide angle lens is one of the reasons we use wide angle lens is it pulls our eye into that subject, but the shopping center is definitely the dominant subject in this photo. Well that’s the first thing you need to do, the second thing we need to do is to get closer to our subject.

Now if there is anything I’d like you to take away from this video that’s it when you’re using a wide angle lens it’s really an up close len’s after using a mirrorless camera like my Leica here, or a Sony A7 or many of the mirrorless cameras, you can’t get too close with the wide angle lens. If you’re using a DSLR though with the lens like the 16-35 you can get inches away from your subject on these pictures that I shot I was very very close in fact on Lake Titicaca I shot this picture of this boat. The boat is our dominant subject. I was about maybe 12 inches from the front of that boat. Really, really close. But because that lens is so wide you can’t really see it. Now I met with two amazing photographers in Argentina this is at Mag and Martin, Mag Alvarez and Martin Epelde. They are the inspiration for me to go and shoot Patagonia.

photography tips aperture

They taught me all this stuff about where to go and what to do. This shot of them was taken with my 21mm lens at about a foot and a half maybe two feet away from them. Here’s Mags signing her book that she did on New York City – it really is an amazing shot, I was extremely close and you can see the shot of some people I shot on the subway. I was just about a foot and a half maybe two feet from these people are falling asleep on the subway so get close, get close, get close when you are using a wide angle lens and if nothing else hear me say get close and this third thing you can do with a wide angle lens, because it gives you that 3D feel. It’s pulling you in leading lines, those lines that lead us into photos can be used to our advantage, so when you’re framing your shot try to frame your shots so that lines are leading us into our image. All right now we know those three things what we want to do is head out here in Hanoi and put them all into practice so let’s do that next.

Alright one of the advantages of using a wide angle lens, and you’ll have to pardon the music that’s being blasted down the streets, we’re not sure why. But evidently it’s a public feature here in Hanoi, but one of the wide angle lens features is that you get extreme field of sharpness, you have everything in focus from the beginning to the end, of this very nice lady here, who has allowed me to take pictures of her vegetable stand. I shot some images earlier and I was able to get the vegetables right in front of the lens all the way to her totally in focus and using the steps as the leading lines to point us from the vegetables to the owner of the shop I really like this picture and it uses all of the three things that we talked about earlier getting close, having a predominant feature or subject in our frame and using leading lines.Well Hanoi has all kinds very interesting little alleyways like this one know what I could do and I have done is to stand back.

Use my wide angle lens to get this entire entryway and the alley, you see everything, I got everything in the shot but it doesn’t really pull us into the scene so what I can do is use two of those things I talked about earlier getting closer and using leading lines to pull me into the subject. So this sign right here – If I really fill the frame with this, this is my dominant subject or my foreground interest I can also use these lines right here to pull the viewer into the scene and point their eyes to the back of the alley and I’ll do just that. But I really want to stop this lens down to about 5.6. The sun’s going down here and it’ss really sort of dark so to shoot it 5.6 and still have a shutter speed of about 1/60 of a second.

I’ve increased my ISO, to ISO 800 a lot of people ask me why do you increase your ISO, it looks great. On video looks like it’s nice and bright but in reality it’s sorta dark right now, we have about half an hour before the sun goes down so now you know why the ISO is pumped up. So lets take a shot of this. I’ll get close, I’ll compose the leading lines and I’ll show you the difference, so let’s just take a look at this. Get right up there, there we go I love that. That looks so much better. Now we can compare the wide angle shot to the closer shot with the leading lines and I think you’ll agree that the closer shot wins. Well I got permission to take some pictures are these roles and bamboo shoots here. Now first I am going to do this the way that’s the wrong way, I’m going to take a wide angle shot of these rolls here and you can see that it’s just a street scene there’s not much to it.

photography tips on safari

I need to get closer and show that as close as I can, so I’m going to get right in there. About like that and now you can really frame the shot up the way I want. Ah you see it now, this is the predominant thing in our shot, you can see that getting close is the better option. Well there you have it using a wide angle lens. Remember have a predominant subject get close to your subject and use leading lines and you really get much better images and if nothing else please hear me say get close, get close, get close. A wide angle lenses is for close up photography. Not I to remind you that Exploring Photography is brought to you by Adorama, it’s the camera store that you can get anything you can possibly imagine any gear, any audio gear, and video gear, tripods you name it you can get it at Adorama.com. So check that out. The great thing about Adorama is they don’t just sell you the gear they are going to support you with free education and you can get all that education right here on YouTube just click the subscribe button in that way you get all of Adroama TV absolutely free, you won’t miss a single episode and in addition to that there is the Adorama Learning Center there’s tons of articles hundreds maybe thousands even, articles about everything that is conceivable about photography, videography, post-production check that out.

We have links to the Adorama learning centre and again it’s absolutely free. Thank you so much for joining me and I will see you again next time. Do you want great-looking prints at low-cost. Be sure to visit our easy to use online printing service Adorama Pixs has professionals who treat your images with the utmost care that you can count on. For a quick turnaround on photos, cards or albums use adoramaPix.com.

How Much Today’S Portrait Paintings Cost?

Paint My Photos has been in custom portait business since 2002 and we are artists based company, which means you buy direct from artists. Order from us can save you at least 50% of the cost. Trust me, you don’t deserve to pay that much money. Moreover, you don’t need to worry about the quality, paintings are done by professional portrait artists, our artist team is a secret source behind many top art galleries. They commission art from us and sell thousands dollars.

How much does a custom family portrait cost?

Plenty of people realize the importance of a fully made to order art work and portrait. They understand how precious it is to give someone else or you a surprise that may last not only a lifetime, but a lifetime and beyond. Whatever your reason for thinking of commissioning a custom portrait, you might have perhaps considered how much it costs you financially.

Charge for a painting relies on the dimensions and number of people to be painted. A large canvas will definitely cost more than a small canvas. A four person family portrait may cost more than a two person portrait.

This query is asked all the time over the internet because it is a fundamental one.

Price of a painting or a portrait mainly depends on the popularity of the artisan as well as the quality of his work. Hence, offering an exact quote is difficult. Having said that, you can choose online services like Paintmyphotos.net, which takes your digital pictures and transforms it into a hand-painted portrait as per your requirements. It’s a affordable price service, especially if you compare with traditional artists. Plus, it is hassle-free, high-quality and the portrait is delivered right at your doorsteps.

Having Your Portrait Painted Is Cool Again, and It’s Only Cost You $150

Once considered a relic belonging to the photography era, the art of portrait painting is building a comeback think of it being a selfie that can take 2 or 3 weeks to complete.

Relevant learning: How much does it cost to have a portrait painted

star wars panel art

If you’re after the selection of Star Wars after its first part, then perhaps you’re an enthusiastic fan of a few figures in the story. Have you thought to then use a canvas paintings that has your stars hence you’d always have their unique inspirations to locate to? This kind of style is exclusively created for you! It could set up a different kind of feeling in the space considering that it lures the viewer’s curiosity. You can even have it associated by different ornaments using the same format. It’s quite simple to set up. The fee is reasonable. Nevertheless it includes an incredible value to your office or house.

The star war selection is probably the leading films on this whole world; it collected numerous hearts throughout the world. The combating spaceships, inter-family feuds, sci-fi explosions, and quirky alien heroes; there’s so many wonderful things to learn about the star war collection. Most likely, the awesomeness of this idea can not be conveyed in words and phrases; this is why we design hand-painted star wars canvas art pieces for followers.

The Star Wars picture of your decision is surrounded in a strong frame as well as other supplies employed for the entire product have high-quality. It includes a defensive layer against sun or damage from water. Moreover, you really don’t need much more effort to help keep it in shape. The merchandise is shown to go on for a longer time of time below normal conditions. You can buy many different Star Wars photos all of which are exhibited in this website with certain explanations. You could search each and every group to seek other things that can likely fit your pursuits.

The web shops nowadays contain an array of multiple piece paintings, yet nothing compares to the attractive appeal of star wars canvas art work in the eyes of Star wars followers. Really, it’s a must-have décor product for enthusiasts. They aren’t restricted to a couple of types; you will find lot many, each one of these produces a fantastic impact in the fans’ eyes.

Star Wars is known as a cultural phenomenon that has spanned generations and also has a lot of lovers around the globe. The epic stories and roles are part of a sci-fi mythos that has obtained impressive status. Assuming you have been a fan, or perhaps you are looking for a present for someone particular, then cheapwallarts.com is the perfect place to shop. Their collecting canvas paintings features everybody’s superheroes, vessels, and many more, if you are looking for Darth Vader hanging on your own living room area wall, or you would like to put Yoda for the workplace, you will discover everything that you would like.

Cheapwallarts.com stands out as the ideal website to shop for star wars art pieces. Our star wars work also come in multiple size ranges, colour combinations, and designs. Consumers can quite simply decide on the a lot of well-designed design for their master bedroom, lounge room, dining area, kitchen area, restroom, inn, and business office too. You may hang these star wars paintings on your wall behind the bed or behind the bedroom inside your bedroom. You with thankful to find out that these star war canvas series are surprisingly easy to hang with their modern style finish.

stars wars 5

How toPaint a Beautiful Design on a Black Canvas Baggage

If you’d prefer to travel much like Me, you are aware how big of a headache it usually is to search for your travel suitcase in baggage claim. Black canvas suitcases often make up in excess of 80 percent of the suitcases which come off an airplane in airports everywhere. Personally I have tried coloured bag tags, silicone bands around the handle and also decorated straps to hold my personal black tote closed. Our very last flying experience I made the choice to paint a decorative design on the back and front of our suitcases so we can

conveniently spot them while they came off the plane. Adhere to all these uncomplicated advice to paint your own personal tailored design on your black canvas baggage.

The step one during this process would be to choose your design. Choose design that has a decent outside line like a comic character or just a list of letters. My very own design was a list of three cats and kittens somewhere having a mouse on the back. Once you’ve got concluded your design, draw or locate the outside lines of the design upon the black colored canvas with a graphite or disappearing yellow/white sewing pencil.

Paint into the lines with gesso or possibly a white fabric base paint. Let this layer of paint to dry completely before carrying on. Both gesso and fabric base paint take more time to dry than acrylic paint because of their thickness. The gesso or fabric base paint stiffens and produces a surface area that could accept a layer of shaded paint by utilizing just one single layer. You’ll need to paint roughly 10 layers of light colored paint on black colored canvas to have the lightness of the paint to be noticed.

As soon as the gesso or white fabric base paint is dry, make the inner lines of your design. Coloring every single area together with the suitable coloured acrylic or perhaps fabric paint. Allow the paint to dry fully before carrying on.

Include any sort of fine detail you wish at this point including shading, smaller patterns like dots, circles, roses etc .. Shake glitter covering the wet paint to supply a further dimension in case you need. In the end minor designs as well as glitter are used, outline each area using black paint. Utilize a liner brush to do the detailing. A liner brush supports the paint for a longer time and creates a extended line of paint than the smaller round brush.

Heat set the layout after the last drying. Put a brown piece of packing paper covering the design area. Fire up your iron as well as heat on the cotton setting. Place the hot iron in the upper left hand corner of the wrapping paper and carry in position for 15 seconds. Move the iron to the right one iron’s size and repeat. Persist moving the iron and heating the painting until the whole area has actually been heat set. Remove brown packaging paper and you will be ready.

On this website you can easily find more information – http://blog.cheapwallarts.com/

Make Francoise Nielly Encouraged Face

Its abstract with funky colours. That’s my first impressions on this piece of work. It reveals dark areas exactly where dark-colored hues are, and lightweight where by less heavy hues are. In my opinion its too colorful, however. I prefer just a few colours. Alternatively, just dark colours.

Francoise Nielly day-to-day lives within a realm of photos.

Because you can see the brush strokes, and the rough colour blocks, the piece of work looks rough textured. Its diverse to numerous performers who easy out their clean cerebral vascular accidents, and who mix their colors. I love the abstract outcome it provides.

She becomes her feeling of construction and space from her dad, who had been an designer. Being raised from the Southern of France where by she resided involving Saint and Cannes-Tropez, is rarely far away from the sunshine, colour perception along with the environment that permeates the To the south of France. This really is in conjunction with her reports together with her reports with the Beaux artistry and Ornamental Artistry, and her spontaneity as well as festivity.

Francoise Nielly’s piece of art is expressive, demonstrating a brute pressure, an amazing important vitality. knife and Oil merge develop her photos from the substance which is , as well, biting and carnal, incisive and sensual. Whether or not she paints our body or portraits, the musician has a threat : her piece of art is erotic, her shades free of charge,surprising and exuberant, even intense, the lower of her blade incisive, her colour pallet stunning.

She has looked into the numerous elements of “appearance” all her existence, by way of artwork, virtual, illustrations, photography and roughs, pc made computer animated visuals. It is actually crystal clear given that artwork is her course and her interest.

In the individual way, Francoise Nielly paints a persons experience in all of his artwork. And she paints it over and over yet again, with slashes of painting all over their deal with. Instances of existence that develop from her artwork are delivered coming from a clinch using the material. Shade is unveiled similar to a projectile.

Awesome Art of Francoise Nielly

Palette Knife artwork Lesson

Pigment is the real substance used to colour the paint or dye. Extremely finely ground down particles make up the paint medium. Many are produced synthetically. Years ago they arrived from vegetation, animals and minerals.

Small palette knife art. This my primary software as it is the factor I reach for the most and use for every solitary cake I make. It is nice for lifting rolled sugarpaste and flowerpaste, made up decorations, flowers, and all types of other stuff. It is usually fantastic for putting objects onto a cake surface area. Ought to you go for a nice knife it ought to slide quickly and simply beneath sugarpaste or flowerpaste without distorting the shape. I would advocate buying definitely one of these from an art offer store as these appear to be a lot finer than cake adorning types.

Canvas is a painting surface that can live for a hundred year consequently buying hand-painted leonid afremov for your wall decoration, you can be certain that you are getting wall decor that will be along with your family members for a hundred year to come.

Make particular to consist of all of the colours you think you will require to total that session of painting as well. Again, this will make you more effective.

Your should to start out with only two-three paint colours in your pallette. Usually, there may be cadmium crimson, cadmium yellow and ultramarine blue to start with.

If for instance you wish to use flowers as component of the ornament, then you must first determine whether or not you require to use the substitute ones or the live and edible types. Ought to you settle for the bogus types, then there are just a couple of resources that you will require to be able to glaze them to attain a great impact. If you want to frost it, then you will have a syringe-like gadget that will allow you squeeze out the icing as you make the design that you just want. The scale will depend on the thickness of the paste of the icing.

Prepare the 4 surfaces with a frivolously textured coating of gesso and allow it to dry. You can use it with a big paintbrush or a palette knife paintings, but be sure to start with a white surface area.

Make particular to include all of the colors you think you will require to complete that session of portray as nicely. Again, this will make you more effective.

arts reproductions, paint rag

Related article on Francoise Nielly Portraits

Interactivity and real time-envy

Jim Drobnick: What aspects of technology utilized in your work do you intend to be “transparent” and what aspects are made visible?

Elizabeth Diller and Ricardo Scofidio: Because we want our work to be understood within a broad definition of technology, we tend to downplay hardware in favour of more elusive forms of cultural apparatus. The Slow House (1991), for example, probes the notion of “view.” The house sits on an oceanfront site facing the horizon. It takes the from of a distorted cone of vision: a narrow entry door at one end leads to an expansive picture window to the ocean view at the other. Partially interrupting this view is a video monitor that receives a similar image of the ocean from a live camera at a higher elevation. This video view can be panned and zoomed by remote control. It can also be recorded and deferred – day played back at night, fair weather in foul…. The image in the monitor and the one through the picture window are grafted into a composite view with the two horizons permanently out of alignment. For the resident sitting deep in the recliner with a margarita in hand watching the sun set over the horizon, mediated vision is offered as an object of contemplation.

With the domestic application of long span glass in the 1950s, the view became an object of desire, a possessable artifact, a trophy for the living room. The picture window domesticates nature. It assigns value to whatever it frames. It produces the view. Can the view in the picture window be considered any less “technologized” than the one in the video screen? In fact, as advanced technology strives to de-materialize its hardware, to become solely effects, perhaps the picture window can be considered a “high” technology because its cultural mechanisms are immaterial, unlike the bulky video system.

How does your work resist or alter the instrumental, commercial or positivistic attitudes built into technology?

While our work utilizes new technologies, it targets the reductive discourses surrounding them: the technophilic narratives of progress and technophobic narratives of decline and control. This dualistic mine field has pushed us to become techno-centrists. The technologies themselves are far less insidious…. We are always circumventing industrially and commercially determined applications of the technologies we use.

What is the role of interactivity in your work? Why have you chosen to work in this format?

Outpost Art Artscenecal

As our work stems from architecture, it always anticipates a thinking and performing subject. With new media, we’ve simply added more explicit forms of interactivity, thus more conscious links to the subtext of the work… which somehow always returns to subjectivity itself.

How have you negotiated the contradictory issues of freedom and empowerment, and their inverse, control and design, present in interactive work?

The contradictions of interactivity are part of its attraction. For example, the claim that the conventions of authorship will be overturned by converting the passive viewer into an (inter) active co-producer. This passive/active dualism perpetuated by new media assumes that subjects are “passive” if they are not pushing a mouse and “active” even if they are playing out prescribed scripts. Interactive art is a kind of predetermined indeterminacy, conceived by artists in the guise of control surrendered. This deception is an important structural component of interactive work.

In Indigestion (1995), we used the empowerment of “choice” to lure viewers into a closer inspection of character construction. Two figures of undesignated relation across a dinner table are projected onto a horizontal screen that corresponds precisely in size, shape and height to an actual table. The dialogue, written by Douglas Cooper, involves an archetypal blackmail scenario camouflaged in a repartee about food. Along the progress of the narrative, a nearby touch screen offers viewers a menu of replaceable characters, each a sexual and/or class stereotype. The piece is conceived for continuity in any branching pathway though the event is thoroughly nuanced according to the chosen stereotype.

The pretext of “freedom” is interactivity’s strongest instrument of control. Freedom has been a persistent theme of twentieth century technology, so the instrumental use of freedom is a logical postmodern extension. Lately, we’ve been studying how closely the rhetoric of “freedom” surrounding emerging technologies parallels the rhetoric which accompanied the introduction of a visionary new technology in the early twentieth century: glass. Curtain wall construction would liberate vision from the disciplinary enclosure of masonry. Glass was considered a material of truth, an instrument of disclosure. Glass promised, as do information technologies, to democratize information. Both have guaranteed a boundless, transparent world, unimpeded by conventional spatial limitations. Also, both eventually discovered their dystopian flip side. When the gaze came to be understood as a two-way system, glass suddenly became a paranoid material, raising the question: Whose freedom and on which side of the glass? Likewise, interactive and information technologies have raised the question: Whose freedom and on which side of the interface?

We’ve been trying to rethink glass after modernism – trying out strategies of display and spectatorship – beyond positive and negative associations. In Jump Cuts (1996) we added a liquid crystal skin across the glass facade of a Cineplex theater. Following Asimov’s prophetic idea of “opacifying glass,” the facade phases between transparent and translucent modes with the application of an electrical current. While translucent, the liquid crystal interrupts the view into the theater lobby with video imagery that ranges from surveillance views of the scene blocked from direct view, to movie trailers. Glass here has a flexible ideology.

How does your use of technology address the body? Is it a form of disembodiment or re-embodiment?

Your question reflects another dualism propagated by new media. We distance ourselves both from the ecstasy of “disembodiment” and the nostalgia of “re-embodiment,” assuming that the body was ever actually lost.

What manner of subjectivity, character, or behavior do you wish to invoke?

We’re interested in producing a reversible subjectivity that can negotiate aggregate modes of real/fictive space. This requires a subject that does not surrender their identity. Typically, a new media tends to neutralize its subject. It prefers a disembodied, un-situated subject that can easily be re-situated and assume any identity. In virtual technologies the term “entering” a sensory-immersive environment presupposes exiting the environment in which it sets. This arrival/departure metaphor insures a distinction between the fictional “inside” and the actual “outside,” safeguarding the distance between author and subject – the very distance this technology was originally meant to bridge. The hard work ahead for interactive art may well be the interrogation of this forced distance. Can individual subjectivity actually be left behind? We believe that it is only because cultural codes are unavoidably brought into fictive space by the geographically and culturally situated subject that willful choices could be made and any threat to the conventions of subjectivity could be tested.

Are there any new technologies you would like to work with, or not, and why?

At the moment, we’re working on some new themes within existing technologies. We’re obsessed with two contemporary temporal notions: “live” (as in broadcast transmission) and “real time” (as in interactive media). While recorded and lag time are thought to divorce spectator from event, action from reaction, the temporal immediacy of live/real time produces experiences at the precise moment of their occurrence, despite spatial discontinuity. This emphasis on immediacy seems to express a desire to recuperate auratic experience lost in postmodern culture. It oddly favours unmediated time over unmediated space. We’re currently working on the condition of real time-envy in a project for the Web and the assumption of live performance for a theater work on the traditional stage.

How do you hope that your work, as well as other artists’ productions changes an audience’s relationship to technology?

Hopefully, when the novelty subsides, content-driven work will challenge the acritical embrace (or acritical rejection) of everything new and allow its audience to appreciate interactive art within a genealogy of media and with an understanding of the political and economic conditions out of which it is produced.

Outpost Art events

What ramifications do interactive works have for rethinking social structures?

It’s hard to generalize. However, in our production, interactivity is an ideal instrument for the interrogation of social structures. It can challenge participants with problems of “propriety” and allow them to test social limits without liability for their transgressions. The nature of the issues we want to bring out, however, requires the invention of new interfaces which complicate the formerly exclusive domains of the “real” and the “fictive.” For that reason our aim is to weave together fictive and actual sites/situations in which participants can engage cultural codes from a critical semi-fictive stance.

Jim Drobnick is a writer living in Montreal.

Les architectes new-yorkais Diller + Scofidio experimentent avec plusieurs pratiques et medias. Leur travail interroge les discours culturels sur le regard, l’architecture et la representation. Ils abordent ici certaines de leurs oeuvres recentes ou il est question de l’aspect illusoire de l’interactivite, de la notion de transparence en architecture moderne et de la place du sujet a l’ere des nouvelles technologies.

Chris Hables Gray, ed., The Cyborg Handbook

New York and London: Routledge, 1995; 546 pp., ill. b. & w.

DEAR LA GALLERISTS: PLEASE REDUCE ART DRIVING

This guide brings together critical essays on the genealogy, science and imagination of cyborgs in ways that are relevant and culturally specific. The term “cyborg,” imputable to Manfred Clynes, by now attaches to wherever a “human-machine living system” (p. 5) is imagined, invented or produced. Hence this text probes the problematic discontinuity between humans and machines. The Cyborg Handbook is to be experienced as a chart around and across suspicion and fascination.

The audience completely filled Outpost’s modestly sized space

Cyborgism, the ideology, and cyborgology, the attitude and the praxis, admit the transmutation of the body and its intelligences along with the crosscutting of recombinant machineries. Their combined effect, Donna Haraway theorizes, results in “situated knowledges.” Enter the cyborg. Cyborg culture locates an intimate conjoining of what is built, imagined and commodified. Not just the economic, semiotic, technological and mythical, but also the specific and the universal exist within its order. Such that, in its explication, these essays do not simply fuse aspects of its biological, theoretical, philosophical and communicative components along with its terms, but also try to bring to issue the implications and consequences of cyborg technology for our present and future lives. The sheer size of this volume prevents more elaborate discussion here. But, from the standpoint of cultural studies, medicine, philosophy, anthropology and visio-virtual practice, among others, what this collection begins to formulate is the description of a fascinating and comprehensive encounter. S. D.