August 25th, 2010
Ivan Morley’s paintings are inspired by the frontiersman’s lore of scrappy, dried-out California towns with names like San Gabriel, El Monte, and Tehachapi. Such locales and their all-but-forgotten (and possibly artist-fabricated) histories–if you can call tales of memorable cockfights and observations on the behavior of squirrels histories-seem unlikely sources of inspiration. Yet, from a mass of myth, a dose of his own vivid imagination, and a range of raw material, Morley has created some mighty idiosyncratic pictures. The show as a whole was pulled together with a keen sense of detail, with texts telling a few of the stories rendered carefully on the walls.Ivan Morley’s complex, color-saturated paintings are visual extrapolations made within an associative game that starts with history. Born in Burbank, Calif. in the mid-1960s–seemingly a time and place of little history–Morley begins his work by excavating obscure anecdotes from Los Angeles’s mid-19th-century frontier past. By painting exploratively on a variety of surfaces, including textured glass, wood panels, batik and dyed canvas, Morley expands the scope of his investigation beyond the literalness of recorded fact into a swirling, hallucinatory mass.
To create his paintings, Morley applies dyed fabric, wax, varnish, dense patches of colored thread, and, occasionally, oil paint to a range of supports that includes denim, glass, linen, and canvas. Sometimes he paints on glass, peels the image off, and affixes it to another support. The textures and varying opacities of these surfaces contribute to the work’s material diversity; we get blocky quiltlike patterns, floral motifs, and faux-naif, cartoonish illustrations on tie-dyed grounds. Slipped into the mix are some Indonesian-style batiks, which Morley says he learned about from LA stoner culture.”Lab 2001 ,” the group of seven paintings in this exhibition, recreates an explosion that took place in the 1850s at a site identified on a wall panel as “Bill’s Asphaltum-Camphene Lab.” Bill, we learn, had luckily stepped out for a drink when the accident occurred. In depicting seven phases of the explosion, the paintings function like animation cels. They stand alone, but can also be experienced as a lightning-quick montage of jumpcuts. Through this approach, Morley avoids the dichotomy between abstract and figurative painting.Ivan Morley’s Tehachepi takes its title from the name of a small town near Fresno California, in which a ranch was recently purchased to be the site of a Norbertine convent; a true contemporary story, which in Morley’s hands harks back to the days of untamed savage territories yet to be conquest. Rendered over the lustrous sheen of aluminium sheeting, Morley’s abstract pattern is made from cloth and oil paint. Rendered with comic detail, each round form is given anthropomorphic effect. Idiosyncratic and naïve, his TexMex coloured swatches flock in huddled congregation, each an intrinsic, yet individual value of the whole.
If u want to know more about Ivan Morley paintings, biography, solo exhibitions, group exhibitions and resource of Ivan Morley. View Ivan Morley artwork online at The Saatchi Gallery – London contemporary art gallery.Ivan Morley
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August 24th, 2010
Picking which colors to paint the interior of your home can be a stressful venture. Following trends can make your home look fashionable one season, but completely outdated the next. What you want is to choose colors that will satisfy you now and in the future.
So how do you choose? In reality, there are no right or wrong colors, but there are poor color combinations. Pairing lime green paint with red accents would look terrible, whereas combining lime green and white looks cheerful and clean. One place to start is to look at what colors and textures are already present in the room, and go from there.
After looking at what you already have, consider what function the room will serve, and how you want to feel when you spend time in it. Don’t be too limited by so-called color rules. If you read a magazine article that you should never use red for a bedroom, you’re going to miss out on a rich array of options. Go with your gut, and select shades that make you happy.
Colors affect us. They can lift our spirits, make us feel tense, or make us feel at peace.
The kitchen for instance, is typically a place where family and friends gather, snack, and engage in friendly conversation. This is a great area to use bright, cheery colors that promote feelings of well-being. Yellow has long been a popular choice for this room, but be mindful of the shade you select. Lighter shades of yellow are associated in our minds with happiness and freshness, while on the other hand, a dull shade of yellow reminds us of sickness and danger.
The bedroom is your place of refuge from the rest of the world. If you want to give the room a sensuous feel, light red paint can envelop you in feelings of passion. Pink is the classic color for romance, but can be too feminine and overpowering for many people. Blue is a great choice for the bedroom if you want to create an area of stillness. The color blue promotes feelings of tranquility and has a calming effect on the mind. Blue also acts as an appetite suppressant, so be mindful of this when painting your dining room area!
When you’ve decided on what mood you want to create as well as the color family you want to use, be sure to paint a fairly large square on your wall. Don’t rely on paint chips, as the color can end up looking different on your walls. A paint chip also can’t give you an accurate idea of how the room as a whole will mesh with the new color. Your furniture, the amount of natural light in the room, and the type of flooring you have, all play a part in how color will look in the room. So you need to have a fairly large sample area to properly judge.
Selecting paint color can be intimidating, but remember to go with your gut. If you love a color and it evokes the feeling that you want, then chances are good that you will be happy with your choice for many years to come.
Matt Barker is a real estate professional specializing in Saint Paul real estate. For information on buying or selling Saint Paul homes, look to Matt Barker, an experienced Saint Paul Realtor for more information today!
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August 24th, 2010
If you are in the residential service industry (i.e. painting business, carpet cleaning, lawn care, etc.) how do you calculate just how much money a single customer is worth? It’s simple once you take the following facts into consideration:
1.) For one thing local service customers represent immediate income. Depending on your type of business, whether it’s carpet cleaning, painting, window washing, etc. your customers are a way to make instant needed cash. You need to put food on your table and pay bills paid just like everyone else and there is nothing like immediate income to do it.
2.) Add-ons – one thing nice that adds to your immediate income is when customers add on extra work during a job. For example: If you are a house painter and you are painting their kitchen, they may ask you to paint the half-bath down the hall. This adds a nice chunk of cash to your immediate profits.
3.) Customers are a testimony of your good work. Sometimes a potential customer will ask you for references. Having plenty of previous satisfied customers on hand to use as a reference works well. I have had potential customers say things like “I thought they were your mom and dad the way they went on and on. They had so many nice things to say about you!”. Wow! Is that a reference or what?!
4.) Your customers can give you lots of great referrals! Without intending to brag, I have made thousands of dollars off of single customers many times over the years. This happens simply from them referring me to their inner circle of family and friends. Not every customers will do this but with the ones that do, I can trace 2nd, third, and even as deep as 6 and 7 generations or levels of new business all pointing back to one single customer referring me to their friends and family for painting.
5.) And the fifth way to calculate a customer’s worth is they may call you back many times to service them again. Many times I start out doing a job for a customer and then they call me back for a series of other jobs. I have even had customers give me inside work to do at my discretion to fill in for rain days painting somewhere else! (How did they know?)
This is the proper way to know how much money a single customer is worth to you. Take all that into consideration and I guess each customer can be worth thousands and thousands of dollars to you over the years in your own local service business!
I know this from experience… I’m thinking about just one customer in particular right now that over a 10 year span of painting for them, they have had me back quite a few times. This same customer has also given me some excellent referrals. I can trace new business 5 and 6 levels deep and probably deeper from just this one painting customer alone.
That’s the exciting thing about owning your own local business. You get to meet a lot of fine interesting people. These are really nice people that have the money to hire you with. And they have lots of friends who have lots of money to hire you with too! (I call that job security.)
The bottom line is this, if you treat each customer as if they were worth a million dollars to you and consider no job as being too small, they can eventually lead you to some great opportunities to expand your customer base.
Lee Cusano has owned and operated his own successful painting business for over 16 years. He has also helped many others to start their own painting business with his “Paint Like a Pro Estimating and Advertising CD-ROM”.
Lee also offers a free report titled “How To Gain a High Success Rate For Getting Painting Jobs”. To get it go to http://www.Painting-Business.com
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August 23rd, 2010
Future of Painting in Pakistan
Pakistan is one of those undeveloped counties who are facing problems of lacking basic necessasities like education, food, health facilities and many more so the question that arises that how we think about art in Pakistan. Well first of all I would like to clear the concept of art; art is a way of self expression that can be in any medium. It can be in form of music, performing arts, poetry and painting is one of them. Painting is not just a decoration peace in order to decorate wall infect it is a medium of expression in which artist being a keen observer of society express himself. Through forms and colors he expresses the negative and positive attitudes of society.
Painting is a medium in which artist argues with the help of colors and form. Painting always takes importance for viewer because of its topic. Being an underdeveloped country our society is full of topics. Western world are lack of topics because of their easy luxurious life. Great art never comes from easiness it’s always come from passion and specific psychological condition of the artist weather it’s restless, agony, pain, or in happiness. Purpose of painting is to express the idea that is in the mind of an artist to express the true emotions.
Development in information technology is also effecting on contemporary art. There was a time when traditional artist use paints, brushes, canvases as a tool of painting but now we find Paint and Brush, Coral Draw, Adobe Photoshop and Dream Weaver as a range of colorful software that has assisted designers, photographers and artists to groping the real meaning out and engrave the real shape and color they want to demonstrate. Moreover Video Installations and Multimedia freedom has enabled an artist to speak out at the highest volume with all the strength and energy, but at the same time this practice has stolen the brush and palette from artist’s hand and the canvas that was a companion in dark solitude during the excruciating moments of creativity. That tradition of solid feelings also vanished behind the electronic picture- tubes and plasma-screens.
But the point is that what ever medium artist is using in order to create painting it should be result of same psychological labor or distress that was in ancient era. It should give the same psychological relaxation as a traditional painter gets while using traditional tools. If an artist is comfortable in its expression than does not matter weather its click of mouse left right or stroke of traditional brush. Today with all electronic assistance modern artist is in restless soul because he lost his individuality due to the electronic media. He is not fully successful in expressing himself infect he is lost some where in realm of digital art.
Sehrish chauhdary
Artist and an art teacher.
Qualification: Masters in Fine Arts from College Of Art and Design.
Punjab University Lahore- Pakistan
Honor: Masters of Fine Arts (Painting) from College of Art and Design Punjab University (2007) TOP IN UNIVERSITY 1ST DIVISION
Exhibitions:
2 Participate in Painting exhibition at cultural centre of Islamic republic of Iran-Lahore for Shalimar hospital deserving patients (7th july,2008)
3 Participate in Fresh Cream young artist exhibition in Alhamra art Council. (2008)
4 Exhibition in Royat Art Gallery. (2007)
5 Participate in young artist exhibition in Alhamra Art Council. (2007)
6 Participate in Spring Festival Painting Competition arranged by Alhamra Art Permanent Art Gallery (2007)
7 Thesis display at Ana Molka Art Gallery. ( 2007)
8 Exhibition in Copera Art Gallery. (2007)
9 Participation in University Of Engineering & Tech. Painting Competition (2007)
RESEARCH EXPERIENCE:
? Research work on complete art work of artist ?Shah Nawaz Zaidi? for College of Art and Design Punjab University 2007
? Research work for Lok Virsa ?Traditional and Cultural Food of Lahore? 2007
WORK EXPERIENCE:
Teaching Fine Arts in Lahore Garrison Academy for boys since 7th of December 2007.
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August 23rd, 2010
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August 23rd, 2010
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August 23rd, 2010
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August 23rd, 2010
Most easel paintings in history have been executed on right-angled surfaces whose proportional ratio approximate the golden number, universally considered harmonious. While the theoretical range goes from perfect squares to ample parallelograms, the rectangular shape is by far the most used.
When painting migrated to the easel from its original mural setting, wood was the most used general material and the most practical surface was angular. It was an evident shape when assembling planks or when building wooden frames for canvasses. As for modern boards, angularity has clear advantages for manufacture, handling and transport. We find similar reasoning in building and architecture where most shapes are determined by pragmatic thinking, and most strikingly so in regard to the window. Not surprisingly, the metaphor of the portable painting as a window , allowing for a peek into a different reality, has been constant throughout the history of painting. As for the rectangular shape, it’s for obvious reasons a basic shape in our shaped world. The book has it, the computer screen, the letter-paper etc.
This flat and rectangular surface is thus the painter’s playground. On this two-dimensional and clearly defined physical space he can set out to record reality, lead us into illusion; transmit impressions, pass on sentiments or simply lets his work touch us independent of intention. These possibilities have all been tried out in sequential cycles during the last centuries and the artist’s means have been line, shadow, colour, texture, mass, contrast and shape. The result of his efforts may or may not appeal to us, disturb us, simply pass unnoticed or, at best, fascinate us. What exactly it is that we see in a painting is often not clear to us as our whole registry of sentiments and emotions is at play.
The importance of easel painting is not so much the support’s shape but rather the limited space implied. The traditional practice of framing accentuates the natural spatial limitations yet more strongly. Furthermore, practical considerations have today standardized canvas measures to fit modern-day houses and apartments. From the very beginning the easel painter has been forced to live with severe limitations, on the one hand with the missing third dimension, on the other with the imposed rectangle. The history of painting is largely the history of fighting these limitations.
There is however a much more formidable constraint for the modern painter: the unacceptability of returning to earlier exploits. This terrible impediment to the exercise of his art is imposed by society and of such far-going consequences that the doctrine actually did put at least a temporary end to painting as art form: The false idea that evolution in art must be linear made quite naturally that creative novelty in painting became exhausted. That there was no more originality to squeeze out of the flat rectangle led modern artists to abandon the canvas for other art forms.
What hasn’t been understood in the process is that, in essence, Art is first and foremost forged by limitation and not by freedom.
We’ll come back to this in another post.
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August 22nd, 2010
There are several reasons why the use of edges in an oil painting is important:
* Degree of Hardness – Edges can be used to express the degree of hardness or softness of objects and subjects.
* Degree of Roundness – Edges can also be used to reflect the degree of roundness and sharpness of objects and subjects.
* Directional Indicator – Edges are an excellent help in mapping your painting. That is, they can be used to lead the viewer’s eye around the painting and ultimately to the focal point or area.
This can be done in such a manner that the viewer is hardly aware of the manipulation. In the West, people’s eyes enter a painting from the left. So, here is an opportunity to design your composition on the left as an invitation to enter your painting. From there, edges and forms can be used to lead and guide the viewer further into the painting and to the focal point. On the right of the focal area your composition should be designed to lead the viewer’s eye back around to the focal area.
Of course, you are always free to break these sorts of rules if you have an interesting reason to do so. Also, be aware that in the East people enter a painting from the right.
In real life most edges look soft because our eyes are constantly moving. An edge will only assume its sharpness if we specifically focus on it. Therefore, it is best to keep the edges soft in general unless you want to draw attention to a certain feature as is the case with the focal area.
The other situation in which to use a sharp edge is when you want to make a certain feature appear to advance. But, in general, avoid excessive use of hard edges because they work against the creation of realism. On the other hand, a painting totally devoid of hard edges tends to look uninteresting. So, the solution is to put in a few hard edges but not too many.
Then there are also lost edges. These edges are usually applied when two neighboring shapes have the same value.
The whole thing starts with a visible edge and when this edge enters an area of equal values it becomes invisible or gets lost. Further down, the edge reappears where the value start to divers again.
The eye has a natural tendency to fill in the lost edge. The use of lost edges is artistically very powerful and should be part of your repertoire of tricks. Allowing the colors of one form to work themselves into the neighboring planes of equal value is a delightful way to loosen up a painting and make it visually dynamic. Note that a painting for some reason, as it progresses, has a tendency to tighten up.
In conclusion, there are three types of edges: the soft edge, the hard edge, and the lost edge. Most of the edges are on the soft side. Hard edges should be used sparingly with the intent of attracting attention or to advance certain features. The lost edge is usually used where values of neighboring forms become equal. They serve as a way to loosen up a painting.
Remi Engels, Ph.D., is a pencil portrait artist and oil painter. He is also the author of a popular Pencil Portrait Drawing Course. Get Your Free copy here: Remi’s Pencil Portrait Drawing Course while supplies last.
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August 22nd, 2010
In traditional masterpieces, think of how long your ancestors took a sit, stood or posed just to come up with what their painters want them to do. The procedure was quite tiresome yet the experience is fulfilling especially once you see how the output came out. However, as modern concepts in other fields have been introduced in the market, so does portrait painting took a leap to adapt change. This is where the photo to painting came in. Dog portraits are indeed great examples of this transition. Why is this concept regarded as ideal?
Convenience. This trait of a photo to painting concept is obvious rather than vague. Come to think of it, you will eliminate the long hours you need to spend sitting down just to have the craft perfect up to the last details. You do not have to run from work or forget about household chores just for you to be able to have your own portrait painting. Moreover, you do not have to bring your dog to the shop just for dog portraits. See, how convenient this new concept in the field of arts is.
Enhances creativity. Although traditional portraits were made with utmost care, passion and creativity, the photo to painting technique is also sought-after for the said reasons. Defining the word creativity means that the artist is allowed to incorporate thoughts, imagery, visualization and whatever runs to his mind in the entire work. With a dull and lifeless picture, your chosen artist will definitely be more than glad to make the output more vibrant thus even more attractive to other people. Regular dog photos may become perfect dog portraits for your shops or homes.
Elimination of dull moments. Sometimes, when you are not in a mood to pose for a painting, the work of art may not be presented with its aesthetical value. When this happens, your money will end up to nothing. In some instances, you would not find the right position for you to project yourself. In this case, the photo to painting process is of great help. All you need to do is to choose from one of those pictures that you and other people admire most. Submit it to your artist and let him do all the work for you.
Contentment. It is important that you get contented with the end result of the work made by your artist. With posing, your feet, your hands or even your entire body will get tired and yet in the end, you still don’t get the concept you dreamed of. With photo to painting, you will surely be grateful for the fact that you need not spend most of your time but still the masterpiece is indeed a masterpiece in itself. The same applies if you are looking for the best dog portraits that will work for your heart and eyes’ content.
The photo to painting term introduced a new technique which ensures the value of the money you spend. You are also allowed to give suggestions which your artist will certainly take note of. The concept also welcomes other images such as car, house and dog portraits to be created by your portrait painting artist. Imagine how much impression this idea creates just to fulfill your requirements of a real deal work of art.
Do you know about the photo to painting concept? If you want to see samples such as those of the so-called dog portraits , feel free to visit our site and see how we offer such a concept.
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