ART FOLDER

Painting Tips to Help You Decide which Paint to Use

2009-06-06T03:43:00.000-07:00

Author: Ian Antonio

How to choose between oils, acrylics, watercolours and pastels

One of the very first decisions you must make when you start painting is what sort of paint (also called medium) to use. The following information is intended to be informative and help you decide between the most commonly used paints.

What is paint and what is the difference between each type of paint?

The brief technical bit!

Paint is a dispersion of pigments, resins and fillers in a liquid carrier. By varying the basic ingredients the different types of paint can be created.

Oil Paints

Oil paints as the name suggests contain oil. This is usually a natural vegetable oil such as linseed or a synthetic hydrocarbon made from oil.

The oil is the carrier used for the pigment and resins (alkyd). The pigments provide the colour which can be in the form of a soluble dye or an insoluble powder finely dispersed in the liquid. The various colours are produced from one or several pigments mixed together. By varying the different amounts, not only the different colours, but different shades and hues can be produced.

The resin is dissolved in the oil and acts as a binder for the different ingredients and to, and also binds the paint to the surface that it is applied to.

When the liquid evaporates after application, the resin and the pigments remain and form a skin which sticks to the painting surface.

Acrylic Paints

Acrylic paints are similar in make-up to oil paints, i.e. they are similar in appearance and contain a liquid carrier, pigments and resin. However, the liquid used is water.

The resin is not the same type as in oil paints, because it has to combine with water. The acrylic resin does not dissolve in the water but forms an emulsion (forms globules). When the water evaporates the globules of resin stick together to form a skin. The pigments used must also combine with water and so are chemically different than oil pigments.

Watercolours

Watercolours consist of pigments, filler and water if they are in liquid form, or just pigment and filler in they are solid. As they have no resin component to bind the pigments and form a skin, they rely on the surface they are applied to, to be absorbent. A filler is a fine powder which can be used as a carrier for the pigment and provides texture/body.

Pastels

Pastels are a solid paste form of water-colour. Far less water is used in their manufacture (when compared with liquid paints), and water soluble binders are used to maintain their solid paste form. Oil based pastels are similar with far less oil used than used in making oil paints.

What are the practical differences between the different types of paints?

Oils:

• dry slowly allowing time to work and to blend colours. The temperature of the air you are working in, and the proportion of thinner used dictates the drying time

• can be used to produce texture by building layers

• once dried sufficiently, can be over-painted without disturbing underlying layers

• rich, deep colours which maintain their intensity when dry, so can be left unfinished and returned to later without a change of colour

• can be used thickly or in thin, smooth washes increasing the scope for different painting techniques

• colours are resistant to bleaching by sunlight and surfaces can be cleaned of dirt with methylated spirits

• completely water proof and resistant to the elements

• require brush cleaner/white spirits to clean brushes

• usually applied to non absorbent surfaces including board, wood, coated paper and canvas

Acrylics:

• dry fast but still allows time to work and to blend colours. Can be a disadvantage when working with thick applications in hot environment

• less viscous than oils so easier to mix but tend to produce less texture and brush strokes

• can be mixed with water or other mediums/gels which are compatible with water

• can be used thickly (impasto) like oils, or in thin washes, like waterclours, so can be used on both absorbent and non absorbent surfaces

• once dried can be over-painted without disturbing underlying layers

• water resistant when dry

• colours dry darker than when applied so can give problems with colour matching if left

• less resistant to sunlight that oils, surfaces can be cleaned of dirt with methylated spirits

• requires water to clean brushes, but can give difficulty if brushes dry prior to washing

Watercolours:

• mixed with water giving transparent colour

• dries fast and requires pre-wetting of the surface in hot environment

• strong tendency to bleed so good for general wash techniques but can be difficult for fine definition

• transparency makes it hard to rectify or hide mistakes

• colours dry lighter than when applied so can give problems with colour matching if left

• no white in watercolour painting, the white comes from the paper you are working on. So can be difficult to produce prominent white high-lights without preplanning or masking

• paint can be lifted off by rewetting so can be useful in some techniques, but can be difficult to use in wet conditions or in hot/dry conditions where rewetting is necessary

• brushes are cleaned easily with water and paint is reusable when dry by adding water

• colour intensity is less when compared with other media and tends to bleach in direct sunlight. Problems with dis-colouration to the support and the media can occur in damp conditions

• very difficult to clean the surface without damage so has to be protected from the elements under glass or other suitable material

Pastels:

• colours are mixed on the paper/support by over-laying or blending so no drying time

• easily used and require no brushes

• oil based pastels can be thinned and blended with turpentine, or scrapped off to reveal colours underneath, known as sgraffito

• a wide range of colour are available, however, usually a greater range of colours are required to create a picture when compared with other media

• different brands and pigments tend to vary in softness so difficulties can arise when obtaining supplies from varying suppliers

• soft pastel works tend to be liable to smudging and the colour coming off the support unless precautions such as fixatives or mounts are used to keep the surface away from frame glass

Other considerations:

Cost:

• Watercolours are the cheapest to set yourself up with and most budding artists start this way. However, watercolour requires different techniques to other media and can restrict development

• acrylics are not as expensive to buy as oils and can bridge the gap between oil and watercolour

• oils are more expensive to buy initially; however a little goes a long way when painting thinly. Several paintings can be produced from a single tube of each of the base colours

Hazards:

Oil Paints:

Some people are put off by oil paints because of the solvents involved; they may be allergic to the solvents or may not want solvents lying around when young children are about. However, oil paints themselves usually contain linseed oil as the carrier which has low odour and is essentially non toxic. The pigments themselves are bound by the oil and are not available to cause hazards. White spirits and turpentine used as thinners or brush cleaners are flammable and should be used sparingly. However the volume used is very small and the hazards are many times less when compared with the use of domestic household paints. Saying this, low odour versions of paints are available.

Acrylics:

Acrylics are the least hazardous as there are no solvents used and the pigments remain bound in the paint.

Watercolours:

Can be hazardous if traditional pigments are used because they are not bound by resin and dry to a fine powder. However the quantities used are so small that hazards are very minimal.

Pastels:

Similar to watercolours, however soft pastels can produce a lot of dust so care should be take to minimise the amount you inhale. For example, do not blow on your work to remove loose pastel.

Your choice of paint

Choose whatever paint suits you. Try them out and you will soon discover whether you enjoy working with it and the results you get or not. If you like certain properties of different paints, you can try working with a mixture of paints (known as mixed media) in one painting. The variation is both challenging and rewarding.

The advice and information above is meant as guidance to the properties of the different paints. The only way you will know if you like a particular paint is to try it.

About the Author:
Ian Antonio is the tutor at Creative Holidays Spain where you can learn to paint or improve your painting skills in the stunning rural landscapes of Andalucia near Ronda. All details can be found at: www.creative-holidays-spain.com

Article Source: ArticlesBase.com - Painting Tips To Help You Decide Which Paint To Use

Pastel Painting, Tips and Equipment

2009-06-06T03:38:00.000-07:00

Author: John Burton

Firstly, there are the pastels themselves. They are made from pure powdered pigment bound with a small quantity of gum binder (low quality pastels have chalk added). Pastels come in many varieties (hard, soft, sticks, pencils, etc.) but they are essentially all the same: the final choice is largely a matter of personal preference.

What’s probably more important is the type of paper you use with pastels. When pastel is drawn across a surface, the pigment crumbles, and so deposits on that surface. Using the right type of paper ensures that the deposited pastel sticks to the paper, and doesn’t just lounge on the surface. In other words, a good pastel paper will have a "tooth", or grab.

Tooth and texture are not the same things. Velour paper has a sumptuous soft texture, but not much tooth. Art Spectrum Colourfix type papers have little texture, but a fantastic tooth – like very fine sandpaper. The choice of paper is often down to what sort of painting you want to make. Briefly, the more toothy the paper, the more pastel it will grab, allowing greater colour mixing and tint intensity. However, a strong tooth can restrict the ability to record fine detail. The final choice is often a bit of a compromise, and down to experimentation, but the key point is – don’t use any old paper to paint with pastels; use a paper made specifically for pastels.

Pastel work requires a fair amount of blending and reworking: some pastel painting techniques require the use of water, so it is important to use a paper that is robust. My personal recommendation is that you use the heaviest weight pastel paper you can buy – something that will stand-up to a bit of a battering.

A final consideration is paper colour. Pastel papers come in a large variety of shades and although white is usually an available option; it is rarely a good choice. Coloured papers are preferable for a number of reasons. Unlike paints, pastel work often allows some of the surface of the paper to show through. Choose a paper colour that is sympathetic to the overall colour of the painting you want to make, and the background colour will serve to compliment and subtly unify your picture. The paper colour you choose will also help to set a mood for the picture. Finally, in the same way that painters normally lay-down a base colour on a white canvas (as a first step in their painting), choosing a coloured paper has the same effect (you’re on your way before you even start to draw).

Getting the pastel on to the paper requires techniques above and beyond simply drawing on the surface. Once you have made a mark, you normally need to do something further - bend, smudge, fix, erase/clean-up, etc. You can use your fingers, but a few simple tools do a much better job.

Torchillons (or paper stumps) are good for "fixing" and "short" blending. What I mean by fixing (in this context) is pressing the pastel into the paper so that it is less inclined to smudge, and/or has a sharp defined edge (e.g. for detailed work). What I mean by short blending is where you wish to smudge over a small distance (e.g. to blend two different colours along their border).

A brush is great for softer blending (a graduation of colour or tone). While a torchillon pushes the pastel into the tooth of the paper, a brush lifts and carries the pigment, so you achieve a more gradual blend.

It is also possible to buy something called a "colour carver" (best described as a pointy bit of rubber with a paint brush style handle). These perform like a super torchillons (they really push the pastel into the tooth). They also act like a wet-on-wet paintbrush, and permit thickly laid pastel to flow like paint. However, over do it, or press too hard, and they act like an eraser (a job normally best left to an eraser).

Talking of erasers, you’ll need one of these too. It isn’t there to correct mistakes; it is necessary for cleaning-up (because pastel doesn’t tend to stay where you put it). The best type is a putty eraser. These are very soft and can be pinched into points or thin edges to take out tiny dots or thin lines of colour from your picture, without doing any damage to the paper.

What about sharpening pastel pencils? The options are knives, sandpaper, pencil sharpeners. Opinion varies, but I use a good pencil sharpner (when I absolutely need to) and accept that pastel pencils don’t last forever.

Pastel painting is a very messy business. I often think of pastel work as painting with dust. This is why it’s best to use the tools described above, rather than rely on fingers. Get your hands dirty and you will inevitably make a mess.

Guess what? There is even more equipment you can acquire to help deal with the dust problems, but before I get into that, I think I need to explain the dust issue a bit more. It doesn’t matter what type of pastels you use, what type of paper you work on, or how much you push and blend the pastel into the tooth, the fact remains that some of it will grab, and some of it will just sit on the surface of the paper as dust. The problem is that the dust is going to move at sometime and pollute its surroundings. For example, black next to white is going to drift and grey the white, while the white will waft onto the black and lighten it.

One solution is a pastel easel. These tilt forward, so the dust will mainly fall onto the ground below. However, if you don’t like "doing it standing up" (so to speak), this may not be the answer. I "do it flat", and use scrap paper to cover the areas of my picture that I’m not working on (in the style of a surgeon). It’s not foolproof, but it helps a little. Some advocate blowing across the surface of the paper to shift dust (but you need to take care not to accidentally spit) or use compressed air (sold in spray cans) instead. When I blow, I carefully choose the best direction in which to blow the dust; the one that causes the least damage to sensitive colours. I try to blow only when I absolutely must: it removes dust, but also spreads it.

The final bit of equipment you may need is a fixative spray. Opinion is divided on the use of fixatives. Pastel is possibly the most permanent media there is. There is no oil to cause darken or cracking. The pigments are far more permanent that their watercolour counterparts. The only weakness is the detachment of the pigment from the paper though rough handling. Some say, give the picture a good shake, and frame it under glass. My picture framer says he hates framing unfixed pastels.

There is no doubt, fixative does dull pastel, but it has a number of positive benefits. The first is …. it fixes pastel and stops the dust. The second is that it can be used before a painting is finished to renew the gab of a paper. When you just cannot get any more pastel to stick to the paper, spray with fixative and the problem is solved. Thirdly, it allows control over what you do and don’t want to smudge (e.g. when overlaying colours). Don’t use hair spray (except on your hair): use a purpose made pastel fixative. Don’t over do it (in terms frequency and amount). Paint for as long as you can before fixing unfinished work. Apply several light coats rather than one heavy one. Re-work highlights as the final step of any painting, and don’t fix these.

About the Author:

Portrait artist working mainly from clients' own photographs. Portraits by John Burton

Article Source: ArticlesBase.com - Pastel painting - tips and equipment

Introduction to Pastel Drawing Mediums

2009-06-06T03:32:00.000-07:00

Author: Ralph Serpe

Pastels are one of the easiest mediums to work with and therefore are a very popular choice amongst artists. Pastels combine the immediacy of a drawing medium while at the same time provide the artist with a color rich, paint like environment. With Pastel drawing, there is no need to prepare your drawing surface, as pastels can be applied directly to your support. There are no harsh chemicals or mediums to be concerned about and cleanup is a snap! It is no wonder why artists adore this medium so much.

Pastels are available in a wide range of exciting colors and materials from soft pastels and oil pastels, to pastel pencils and crayons. You could literally spend a lifetime exploring this versatile and exciting medium.

TYPE OF PASTELS

Pastels are available in a wide range of types and this is to accommodate the different tastes artists have. These various types of pastels are all created using similar pigments, only they are composed of different quantities or kinds of binding materials.

Soft Pastels

Soft pastels are the original form of this medium and probably the most popular. Soft pastels are composted of pure pigment, chalk and a gum solution. They produce rich colorful lines and are more often than not, looked upon as painting mediums more than drawing mediums. Soft pastels can produce subtle lines or can be built up into rich impastos. It provides the artist with the best of both worlds essentially. Of all the various types of pastels, soft pastels are available in the widest range of colors. They can be purchased individually or in sets.

Hard Pastels

Hard pastels, as the name implies, are hard and more suited for drawing and producing lines. Artists often use hard pastels and soft pastels together in the same drawing. The hard pastels are used to layout the drawing and the soft pastels are worked in over the hard. The hard pastels are then used again to finalize the drawing by adding in details. Hard pastels do not have the extensive range of color that soft pastels have. It is for this reason that you must utilize various optical color mixing techniques on your paper if you want to produce different colors.

Pastel Crayons

Pastel crayons are a hybrid medium of medium hardness that combine the characteristics of the hard and soft pastels. They are available in a limited range of colors when compared to soft pastels. Crayons are quite popular for artists that enjoy outdoor drawing as their convenient size makes them suitable for transport and their composition makes them less prone to breakage.

Pastel Pencils

Pastel pencils are very similar in composition to crayons only they are encased in wood in the form of a pencil and tend to be a bit softer than crayons. Pastel pencils are perfect for detailed work and also have the ability to be blended somewhat. They are available in roughly the same range of colors as crayons and are available as individual items or in sets.

Water Soluble Pastels

These pastels are an ingenious invention because of their ability to be used both dry and wet. Obviously you can see the amazing possibilities with this kind of medium. You can lay down lines as you would any traditional drawing medium and then brush over these lines with water to create colorful watercolor like washes. These pastels are available individually or in sets and are available in a limited range of colors.

Oil Pastels

Oil pastels are quite different than other types of pastels in that they use oil as a binder rather than gum. Oil pastels are very sensitive to temperature and they will soften as you use them. They are versatile medium and can be used on a number of different supports including canvas, paper and board. Just like oil paints, oil pastels can also be used with turpentine opening up a whole new world of exciting techniques.

About the Author:

If you found this article helpful, be sure to visit the following websites for more art instruction including free step by step demonstrations by professional artists! Creativespotlite.com - Pastel drawing & painting tips and lessons. ArtInstructionBlog.com - Pastel techniques & painting tips and lessons.

Article Source: ArticlesBase.com - Introduction to Pastel Drawing Mediums

Landing Soon

2009-01-29T20:51:00.000-08:00

Beatrix Hendriani Kaswara and Elizabeth de Vaal

source: www.cemetiarthouse.com

Ramayana Ballet, Dance Drama from Java

2009-01-29T20:42:00.000-08:00

Ramayana Ballet performance art is a beautiful, imposing and difficult. The show is able to unify the form of Java multiformity arts dance, drama and music in one stage and the momentum to pass the Ramayana story, a legendary epic Walmiki paper written in Sanskrit.

Ramayana story that brought this on the show with a similar at Prambanan. As many told, the story of the Ramayana presence at Hindu temple similar to the story in the oral tradition in India. The way the story is long and tense it be in the act or four innings, kidnapping Sinta, Anoman mission to Alengka, Rahwana or death Kumbakarna, meetings and back-Rama Sinta.

Stories are all in the series of dance movement that brought by the dancers who accompanied the handsome gamelan music. You start to really late in the story and read every movement of the dancers to learn the way the story. There is no dialogue from the dancers, the only speaker is sinden story that describes the way through the songs in the Java language with a unique voice.

from: YogYes

To Kyoto Myth and Klono Mask

2008-11-14T19:55:00.000-08:00

Three dance works will be Performed in Kyoto, Japan, 11 - 14 this November. The third dance is "Myth" create by choreographer Bimo Wiwohatmo, "marionette swing-swing" HEAD OF HOUSEHOLD works of the deceased. Sasmintodipura, and a dance classic "Klono Topeng" works of choreographer anonymous and never be put back by the deceased Kusudihardja cumbersome. Staging is related to the program of the 20th Sister City of Yogyakarta - Kyoto, a cultural exchange. (Sinar Harapan, 11/11/05)

Zapin Malay Dance

2008-11-14T19:37:00.000-08:00

Malay community, including artists and culture worker have the power of creative high. This can be seen from the development of creative dance Zapin identical with the Malay culture and in the case traditional poetic (pantun). Artists and culture worker able to make art traditions, but not a full stop so that the dynamics of dance Zapin new creative elements, although there is breakdance, but still seen as a Malay dance. (Waspada, 13/11/05)

Art Tradition Except with Television

2008-11-14T19:20:00.000-08:00

That said Agus Faturrahman, Head of NTB Cultural Park, when talks about NTB Art Traditions Weeks (10-15 November 2008). This event seek to develop art tradition in the midst of globalization. On this event present hundreds artists from Lombok and
Sumbawa islands, represent various ethnic in NTB with exhibitions, discussion and performing arts.

The Indonesian work of art already In Line With Foreign

2008-07-18T16:59:00.000-07:00

Beijing, on Saturday -- the Work Of Art depicted Indonesia could have been equated with the work foreign painters, considering already a large number of Indonesian painters who was invited to exhibit his work of art in various countries.

"Indonesian painter togethered with his work already did not lose competed and could be equated with the foreign painter from various countries." Already a large number of Indonesian painters who was invited by the foreign country to exhibit his work, said the painter from Bali, I Wayan Sujana Suklu, in Beijing, on Saturday.

Suklu presence to Beijing on the occasion of followed Beijing International Art Biennale to 8 July-August 12 2008 that also joined by four Indonesian painters other. In the exhibition, Suklu put forward the painting be entitled penetrated Labirin. Now four Indonesian painters other was I Putu Edy Asmara Putra (put forward the painting grew Saat Purnama), Polenk Rediasa (Moonlight Sonata), Agus Cahya (The Green Wall), and Grace Tjondronimpuno (I Love You).

According to him, participation in the exhibition to that the first time, now the exhibition this year was the third implementation after 2003 and 2005. Chosen by him Indonesian works to be with the painting from the other country painter, he said, proved that Indonesia painter did not lose competed and could be equated with painters from the other country that beforehand developed. "In this exhibition often will be visited by the lover" of the "fine arts and they will know directly that Indonesia actually had perupa that was very good and could be equated," he said.

Concerning the success of participation himself and painter other from Indonesia, he claimed to be himself searched and finally sent the list of the story of his works to the committee through the email. "Our work apparently was accepted and his proof the committee invited us to exhibit the painting," he said. An amount painter that went along in Beijing Internastional Art Biennale in part came from the United States, Poland, Malaysia, Singapore, Australia, Cyprus, as well as the Union of the Arabian Emirate. According to plan, himself with several Indonesian painters other also was invited by the China government to put forward several of his works was related the implementation of olympic games 2008 (in August 2008). "I was with several Indonesian painters invited by the China government to put forward the work depicted next month." That proved the Indonesian work of art has had an interest taken in him by the foreign resident and could be equated, he said. (ANT)

source: Kompas

Bali the world because of Art-Culture Quality

2008-06-16T17:11:00.000-07:00

Denpasar, on Sunday - the Culture Critic from Japan, Dr Mari Nabeshima, considered art and the Balinese culture made the Island of the Gods be known in a manner spread in the corner of the world, because his product was quite high-quality. However in his working paper that was entitled the "artistic Contribution towards communication of the nation passage" that was presented in the Congress's agenda of Kebudayaan Bali the 1 in Denpasar, Bali, on Sunday (15/6) Nabeshima added that for four last centuries the Balinese artist all the time held the visit to various countries.

"The artist tabuh and the Balinese dancer held the visit around the world periodically popularised art showed the Balinese tradition," said Nabeshima. The condition and efforts like that that afterwards pushed several foreign researchers to hold the research that was deep about Balinese tradition art. In the meantime millions of foreign tourists who were holidaying to Bali became the multiwitness Balinese cultural art that was unique and high-quality that. The foreigner, including Japan to increasingly was close with the performance of the Balinese tradition, in fact gave the inspiration in making the collaboration work of art between Bali-Japan art

Nabeshima that admitted to knowing the first time the Balinese gamelan in his campus in Tokyo, Japan pushed his intention of studying tabuh and the Balinese dance. "Was grateful to get the student's duty from the Ministry" of "Japanese Education to study tabuh and the Balinese dance to Bali, both in academic and direct to the artist," said Nabeshima. He added, performance art of the Balinese tradition apart from putting forward the high-quality show also is an inter-country communications equipment, especially the Japan-Bali community in the globalisation era today.

Groups's expansion of art that understand better tabuh and the Balinese dance overseas in a manner indirectly gave the positive impact especially image Bali and Indonesia generally in the international community. The art gallery that taught tabuh and the Balinese dance developed in Japan, at the same time supporting the promotion of Indonesian tourism, especially Bali, said Nabeshima. (ANT)

source: kOMPAS

Britney Spears_picture

2008-04-02T09:12:00.001-07:00

Portrait Painting: Creating Everyday Pictures In To Works Of Art

2008-03-23T07:31:00.000-07:00

If you are an individual who loves to document special moments with pictures, then a portrait painting may be something that you may want to consider having done. It involves taking your favorite photographs and turning them into gorgeous works of art. If you own lots of pictures of your children, your pets, or special occasions, then you can have them transformed into a beautiful oil portrait. The primary purpose of a portrait painting is to capture standout moments in a very special way.

Professional painters working by hand, are able to change any photo that you own, into a one of a kind, special and beautiful portrait. These pictures are made to look realistic and the detailing is great.

The process is rather really easy. You select your designated photo and give it to a company who specializes in portrait painting and an artist will turn that photo into a breath taking oil painting. You will be able to view the painting, if you need any redos then this can often be accommodated.

Oil paintings are some of the most attractive types of paintings and require highly skilled painters to paint them. Oil paintings are uniquely appealing and give off a special feeling of accessibility and beauty. Portrait painting allows for a great level of detail. In many cases, individuals may have trouble telling the difference between the portrait and the actual photograph. If done by a gifted artist, portrait painting allows for the heart of the individual to shine through. Because the skill level necessary to accomplish this is high, original oil painting are often expensive. However, there are quite a bit of companies online that can paint an oil portrait for at an affordable price.

Photos allow individuals to, in a sense, freeze time. Pictures are great to look back on with your loved ones. discuss shared memories. Paintings on the other hand, can quickly turn into a family keepsake which can be a passed down from generation to generation and displayed prominently in one's home. A professional artist can help turn your old photos into treasures.

By: Roxanne Manning

Article Directory: http://www.articledashboard.com

Interested in learning morea about portrait painting? or you have arts and painting explained, then you should hurry and visit www.guaranteedportraits.com or retratos por encargo

Learning Photography? Don't Forget Your Camera

2008-03-23T07:30:00.000-07:00

Digital photography has beginners around the world paying for courses and ebooks to learn how to take better photos with their digital cameras. Are they getting what they pay for?

A few years ago, I wrote an ebook to teach beginners the basics of good photography. You know, aperture, shutter speed, depth of field, lighting, composition; the kind of things that are the stock-in-trade of any experienced phogographer. In recent times, I have been amazed at the increasing number of people eager to get their hands on this type of information.

With the internet seemingly taking over the world, and the explosion in availability of books, ebooks and courses on just about every subject, why is it so hard for a new photographer to find out how to use their camera? It's a mystery for the modern age, but I think I may have found the answer.

If a person has a bad experience, especially if that experience cost them hard-earned dollars, they will tell others. And what they are telling me is that they are NOT HAPPY with most of the photography courses and guides on offer.

Many courses and workshops advertising 'digital photography' have little or nothing to do with actual photography. That's right, you can sign up to learn the skills of better photography and not learn one thing about taking better photos.

Instead, what you get is a workshop on digital imaging, or photo editing. How to fix up your bad photos, how to superimpose rainbows and birds into your landscapes and how to remove freckles and pimples from your portraits. How to use software which, in many cases, the customer doesn't have, doesn't want and possibly can't afford.

Are these useful skills? Of course they are, but they are not photography. At best, they are secondary skills that enhance the creative possibilities of photography, for people who choose to go down that path. This does not include everybody.

The result could be a generation of 'photographers' who know more about fixing up their mistakes on a computer than about taking good photos in the first place.

If a customer pays you to teach them photography, they have a right to expect that they will learn how to use a camera. If they want to learn about computer software, they will buy a different ebook, or sign up to a different course. If you take their money, then sit them in front of a computer for three days, you have not given them what they paid for. If your customer asks for their money back - so they should.

I could take a pessimistic view, and think that some photographers have become so lazy, so unskilled, that they really believe digital manipulation is more important to photography than skill with a camera. I prefer to think that the customers I have spoken to have just been the victims of misunderstandings and poorly worded advertising.

Whichever is the case, customers beware! Before you hand over your credit card, find out exactly what you are signing up for. If you want to learn to be a better photographer, make sure the course, workshop, or ebook is about using your camera, not just a computer. If software is a component of the course, terrific - you are getting a well rounded look at the world of photography. If it is the only component, shop around; there are still people out there who want to teach what you want to learn.

By: Andrew Goodall

Article Directory: http://www.articledashboard.com

Nature Photographer Andrew Goodall runs his own successfull gallery, and from his website www.naturesimage.com.au you can find his images and two top-selling ebooks on the art and skills of photography.

galam zulkifli

2008-03-15T06:01:00.001-07:00

A World Stage: the History of the Royal Opera House

2008-03-07T03:13:00.000-08:00

Author: Paul McIndoe

The Royal Opera House is the third theatre on the Covent Garden site. In 1728 an actor/manager by the name of John Rich commissioned “The Beggars Opera” from John Gay, a poet and dramatist. The success of this production helped provide the capital for the first Theatre Royal to be built and on the 7th December 1732, it had its opening night.

The theatre was primarily a playhouse for the first hundred years or so, with King Charles II granting John Rich and the Theatre Royal in Covent Garden, as well as the Drury Lane theatre, almost exclusive rights to present drama in London. Rich also began developing pantomime as an art form which led to the tradition of pantomimes being performed every Christmas - a tradition that lasted until the 1930’s at Covent Garden and still continues today at theatres across the country.

The first serious musical works to be performed at Covent Garden were the operas of Handel, who gave regular seasons there from 1735 until his death in 1759. Unfortunately his organ, which he had bequeathed to John Rich, was burned, along with most of the theatre, in a fire in 1808.

The rebuilding of the theatre began at once and, in September 1809, the second Theatre Royal opened in Convent Garden with a performance of Macbeth. To attempt to recoup the costs of rebuilding the theatre, ticket prices were raised. However, after two months of disgruntled theatre goers disrupting performances with booing and hissing, prices were forced back down.

In 1846, a dispute with the management at Her Majesty’s Theatre (the exclusive home to ballet and opera in London at the time), conductor Michael Costa aligned himself with Covent Garden, taking most of his company of singers with him. The auditorium at Convent Garden was completely remodelled and the theatre re-opened in April 1847 as the Royal Italian Opera.

Fire struck again in 1856, completely destroying the theatre, and work on the third and present theatre began in 1857, before re-opening in 1858. Just over thirty years later, in 1892, the theatre officially became the Royal Opera House, with summer and winter seasons of ballet and opera produced regularly. This carried on until the First and Second World Wars, when the Royal Opera House became a furniture repository and a dance hall, respectively.

Several renovations took place in the 1960s including improvements to the amphitheatre, but it was clear that the theatre needed a complete overhaul. Despite being given land adjacent to the theatre to make room for the renovations in 1975, it wasn’t until twenty years later before work began when the newly created National Lottery granted the Opera House £58.5 million towards the rebuilding costs. The new Royal Opera House was opened in December 1999, with two new, smaller performance areas added to the theatre as well as the now historic main auditorium.

Now open all day and not just for evening performances, visitors come from all over the world to the theatre, packing the nearby hotels in London, and enjoying not only the wonderful shows, but also the beautiful interior of a historic building. The views that the Royal Opera House commands across London from the Amphitheatre Terrace have delighted tourists and guests since it’s re-opening, almost as much as the productions performed.

source: www.articlesbase.com

About the Author:

Paul McIndoe is an online, freelance financial journalist. He lives in Edinburgh with his two dogs.

Photography: Thanks for the Memories

2008-03-07T03:08:00.000-08:00

Author: Elisha Burberry

The art of photography is almost 200 years old and is now an everyday part of our increasingly visual world. The term ‘Photographie’ was first coined in 1832 by the French-Brazilian inventor, Hercules Florence, who had created a technique for capturing images using a process involving silver, iodine, mercury and salt.

However, even before this, the Frenchman Joseph Nicephore Niepce, created the first permanent photograph. Exactly when seems unclear; some report it was as early as 1814, some say it wasn’t until 1826. But, although a huge step forward, the process was painful and not entirely successful - to produce this image required exposure to bright sunlight for almost eight hours using a derivative of bitumen and even after all this time, the image was still prone to fading.

From this point on, advances were made quickly, with many inventors experimenting and refining the process. Many believe that the most advances made in photography were made in the first 20 years after this and indeed in the late 1830s, another Frenchman named Louis Daguerre introduced the process of using silver on a copper plate to produce images - called Daguerreotype - which is still heralded as the basis for today’s Polaroid images.

In the 1840s Fox Talbot had invented the ‘caloptype method’, using paper coated with silver chloride to create a negative image that, unlike the earlier Daguerreotype method could be used to recreate positive images. This ‘calotype method’ was later refined by George Eastman, founder of Kodak, so forming the basis of chemical film as we still know it.

Kodak arguably dominated the rising popularity of photography over the coming decades, until in the post-war era cameras and photography became part of everyday life. For many years afterwards, although the technology became ever more sophisticated, both in terms of the cameras available and the quality of the resulting photographs little had changed in the fundamental principles of photography. However, this all changed in the 1990s with the dawn of the digital era.

The digital camera is an infinitely more flexible tool than its analogue predecessor – video clips can be recorded as well as images taken. Images can be viewed immediately and retaken if not correct – there is no more excuse for chopping off heads in family portraits! Thousands of images can be stored on tiny memory cards and computer software now allows the resulting images to be manipulated to ensure the perfect shot. Therefore it is perhaps no surprise to learn that today in the Western world digital cameras outsell their 35mm counterparts.

Alongside the new technology in cameras are vast arrays of new ways of using your end images. Personalised mugs, mousemats, stationery and photobooks are just a few of the ways you can display your images, as well as digital photo frames which allows you to display a whole album of images in one photo frame, so that you are constantly reminded of your most treasured memories, rather than finding them years later in a dust-ridden album.

In these times of fast-moving innovation it is amazing that the basis of technology invented almost two centuries ago is still being used today; even though the digital era is now a part of everyday life, you can still find loyalists to the 35mm film. Whichever your preferred route, keep on enjoying the memories.

source: www.articlesbase.com

About the Author:

Elisha Burberry is a freelance writer who loves her job and the occasional glass of red wine.

Landscape Paintings : Presenting Nature's Beauty

2008-03-01T09:54:00.000-08:00

Author: Priyanshu Shrivastava

Landscape Painting is a distinct genre of painting that captures nature in its natural form. The paintings are reflections of the skies, seas, rivers, sun, moon and greeneries on the canvas. One of the earliest and traditional painting forms, landscape paintings touch the heart of the modern art lovers with all their purity, naturalness and aestheticism.

Visual documents of the panorama of nature the paintings with their timeless appeal have grown over the years as inspirations to the generations of artists. Landscape paintings from India are famous for representation of wilderness and unspoiled beauties of nature.

The word landscape originates from the Dutch word “landschap” denoting areas of arable lands. Depicting natural sceneries in a medley of lines, colors and tones was the outcome of the natural inclinations of human beings to reflect what they mostly found around them.

The early civilizations with less industrialization and urbanization presented nature in its complete bounties. Artists and poets admired them in their creations. Life was not at all complex and it was only nature and its diverse facets that formed the central theme of the paintings.

Landscape painting in its antiquated form can be observed in the pastoral sceneries of the Roman times. The paintings gained prominence with the emergence of Renaissance Art. Nature was romanticized and portrayed as philosophical and spiritual elements. Various religious and mythological events were represented via nature. Though the spiritual tones were absent in the Reformation times the paintings became more uniform and realistic in this era.

The seventeenth and eighteenth century led to the flourish of the paintings with some master artists like Watteau, Gainsborough and Thoams Girtin. The breathtaking creations reached their acme in the nineteenth and twentieth centuries. Various movements of arts like abstract expressionism, impressionism and surrealism influenced the painting and brought in some new styles and techniques.

Nature was observed scientifically and more importance was given to its hostile aspects. In the modern and postmodern landscapes nature is synchronized with human psychologies and complexities of life. The various facets of nature resemble the moods of human beings in manifolds.

Landscape paintings have several classifications. The skyscape paintings depict clouds, skies and weather conditions. Moon is aesthetically represented in moonscape paintings. The rivers and seas find visible expression in seascapes and riverscapes.

The images of urban landscapes, industrialized cities, towns and streets are carved in cityscapes and hardscapes. The aerial landscapes offer an aerial view of the objects in the ground. Inscapes are visual images of the psychoanalytical mind as a three-dimensional space.

Roberto Matta, Ajmes Gleeson and Jane Farnk are the specialists in inscape paintings. Various innovations and experiments with the landscape paintings are still going on. The paintings with all their connotations and aestheticisms are a connoisseur’s delight and a prized legacy of art.

Visit www.india-crafts.com to get More information on Landscape Paintings

Article Source: /www.articlesbase.com/

About the Author:
Priyanshu Shrivastava is the author of India Crafts This website provides comprehansive information on Indian Arts & Crafts, Paintings, Jewelry,Home Décor Items, Sculptures etc.

Arts & Crafts : Integral Duo

2008-03-01T09:52:00.000-08:00

Author: Priyanshu Shrivastava

Arts and Crafts together create a potential force that enables artists to give material form to their innate refined qualities. It signifies the aesthetic sense, creative power and artistic quality of an artist is manifested. Arts and Crafts also have a great cultural and historical significance. Under the veneer of colors and craftsmanship can be found the rich history, culture, lifestyle and tradition of the bygone eras.

Both words have great value when they get implemented in practical manner. The young artists and craftsmen of today can learn a lot and innovate new ideas from the arts and crafts of the early days.

The Arts and Crafts Movement that created furor in the later half of the nineteenth century in Europe. It was a kind of social movement that emerged to point out the impact of industrialization on the society. The romanticism and the creative aspects of human beings were in decline and there was a clear shift from handmade crafts to the machine made ones.

It is difficult to classify the various streams and forms of Arts & Crafts . The variations of arts may include Decorative Arts, Drawings, Paintings, Sculpture, Photography and Videography, Dance , Singing etc. Ethnic as well as modern paintings and sculptures of brass, bronze and wood serve as great marvels for interior decorations. Crafts made from several resources like glass, wood, paper, plant products, metal, ceramics, porcelain, leather, fabrics and plastics can be used as indoor and outdoor decors or as gifts to the loved ones.

The practice of Arts and Crafts in India began from the Indus Valley Civilization and continues in the modern times. Fascinating Terracotta Crafts, Potteries, Textile Crafts and Metal Wares were the hallmarks of arts and crafts of the Indus era. The Mauryan era is famous for its Stone Sculptures and Jewelry .The handcrafted cave engravings of the Ajanta and Ellora capture Gupta arts in its finest form. Textile Crafts, Ornate Jewelries, Miniature Paintings and Sculptures characterize the Mughal era.

Our site Indian Arts & Handicrafts has come up with panoply of Arts and Crafts collected from the various regions of India. Come tread in this virtual world of arts and crafts and enrich yourself with interesting information on the same.

Article Source: /www.articlesbase.com/

About the Author:
Priyanshu Shrivastava is the author of Indian Arts & Handicrafts This website is onestop online information for Indian Arts & Crafts. Get information on Jewelry,Sculptures, Textiles, Home Décor Items, Wooden Crafts etc.

Saul Williams – a True Rap Pioneer

2008-01-28T08:09:00.000-08:00

Author: Andrew Regan

Saul Williams, born in Newburgh, New York in 1974, is an American rap artist, writer and actor known for his eclectic blend of poetry and hip-hop. He is also known for his role as Ray Joshua in the independent film 'Slam', which won the Grand Jury Prize for a Dramatic Film at the 1998 Sundance Film Festival.

Unlike most mainstream rap artists, who at least claim to have lived a former life of sin before turning to rap, Saul entered the world of music after pursuing an academic career. After graduating from Morehouse College with a B.A. in Philosophy, Williams went on obtain a Master's Degree in acting from New York University. While at NYU he found himself at the centre of the New York cafe poetry scene, where he would hone his poetry reading skills and in 1996 he won the title of Nuyorican Poets Cafe's Grand Slam Champion. Fame on the spoken-word circuit led him onto the lead role in the 1998 feature film 'Slam', and eventually to blend his oratory skills with his love of rap music.

After releasing a string of EPs, he released his debut album, 'Amethyst Rock Star', produced by Rick Rubin, to critical acclaim in 2001. Labelled everything from prog-hop to aggressive, urban chanting, Williams breathed fresh air into an increasingly stale and clichéd genre. After touring in support of the album, he released his eponymous follow-up in 2004, which attracted attention of Nine Inch Nails front man, Trent Reznor, who would select Williams to be NIN’s support band while touring Europe on the 2005 'With Teeth' tour. He also supported the Mars Volta and played Lollapalooza in 2006, bringing his music to a wider audience.

His friendship with Trent Reznor led to an agreement that Reznor would produce Williams' next album, 'The Inevitable Rise and Liberation of NiggyTardust!' Released last November, it is only available at niggytardust.com, where users can download mid-quality mp3s (192 kbps) of the album for free, or, if they choose to, pay $5 via credit card to support Williams directly and choose between mid-quality mp3s, high-quality mp3s (320 kbps) and lossless FLAC files.

Reznor posted on the Nine Inch Nails homepage that as of the beginning of this year, close to 155,000 people had downloaded the record, and of those, 28,322, or just over 18% had chosen to pay for it. Out of those paying, 3220 chose mid-quality mp3s, 19,764 chose high-quality mp3s and 5338 chose FLAC.

Though these figures aren’t enough to warrant a Platinum certification, the business model gives fans an impetus to do the right thing by giving them a hassle-free way to show support for Williams, with no restrictions like DRM placed on the music, and as such, it can be seen as a success, especially considering his last album sold 33,897 copies in the three years since its release.

Whether this way of releasing music will become a trend is yet to be seen, but the fact is that more people have listened to Saul than ever before, and hopefully this year will see him receive the mainstream recognition he rightly deserves.

Article Source:www.articlesbase.com

About the Author:
Andrew Regan is an online, freelance author from Scotland. He is a keen rugby player and enjoys travelling.

Top Six Sources of Tattoo Design Ideas

2008-01-28T08:05:00.000-08:00

Author: Reese Lanter

A tattoo is something that you would have to keep forever. This is why it is of utmost importance to find the exact design that you would want to be permanently stuck with. After all there is nothing like the misery or regret a person could feel over a bad design. To help you make your decision, you should seriously consider these top sources of tattoo design ideas.

Tattoo Artists
The best source of design for tattoos is of course, a tattoo artist. An artist who has been doing his trade for quite sometime and has a wide base of satisfied customers would know first hand about good designs and tattoo design ideas that would specifically fit you.

Tattoo artists can help you understand the meaning of a design, and you can easily discuss with them the design that best suits your personality. You can even give an artist your idea and leave the designing to him. The downside to this is that different artists have different opinions and you often have to do a lot of leg work and design book flipping to find the best artist and design

Online Galleries
The best tattoo designs can also be found on online galleries. There are lots of free and paid galleries to choose from. These galleries contain thousands of designs conveniently arranged in categories with new designs regularly coming in. The best thing about searching online for tattoo design ideas is that you can simply browse in the comfort of your own home. For a fee, you can print a design that you like and take it to an artist. If you do not have an artist yet, some galleries will offer you a directory of tattoo artists near your place.

Forums
Ideas are simply limitless in forums. There are numerous independent or gallery attached tattoo forums to choose from. In these forums you can upload your designs and ask forum members to give their opinion about it. You can also comment on the designs of others and maybe even get some inspiration from the member uploaded designs. This is a great way to interact and ask real average people like you their unbiased opinion.

Printed Material
Who says you need to restrict your tattoo design ideas on catalogs and galleries. Look through an assortment of books printed material for possible tattoo design ideas. You can flip through your favorite comic books or even look in science, astrology, psychology, archeology, sociology and anthropology books.

Other People
Close friends and family members who also love tattoos can also offer you some tattoo design ideas or can give their honest opinion about a design that you are considering. Aside from these people, you could also simply observe what other people have and form a judgment on which designs look great and which one look horrible.

Your Own Creativity
One other top source of tattoo design ideas is your own creativity. You can mix and match designs or you can answer some questions to arrive at a good design. What are you interested in? What inspires you? What is your life long passion? What do you love the most?

Article Source: www.articlesbase.com

About the Author:
Find your tattoo design ideas from one source. Search for cool tattoo ideas online that matches your personality.

Buying Art - What to Look For

2008-01-18T10:34:00.000-08:00

By: wendyh

If you don't love art, and are simply considering buying art as an investment, the best advice is to find something else to invest in. Collecting and buying art should be a labor of love, not a cold-hearted financial calculation.

When buying art there are many factors that a serious art collector should look at in order to get the best deal. In no particular order they are:

1. Know Your budget

No matter how much you like an art piece, don't put yourself in enormous debt to acquire it. If you can't afford it, so be it. Just let it go and wait for something to show up that fits your budget. No art collector in the world gets every piece he is attracted to.

2. Know Your Art Dealers

Once you know what kind of art you like, find the galleries that sell it. Introduce yourself to the gallery owners. Form a relationship with them. Let them know what types of art pieces you're interested in. Then when they get a new piece or art in, your name will be near the top of the list of people that they notify. This is an excellent way to get first crack at art pieces that normal people will never see, because they simply are never put up for sale.

Developing relationships with reputable art dealers also helps to protect you from scams. You can have faith that the art pieces you get are original pieces and not simply knock-offs.

Also, if you come to love the work of a particular artist, you may find that his or her work is carried primarily through a particular dealer. All the more reason to become friendly with as many art dealers as you can.

3. Know Your Own Tastes

Never buy something just because an "art expert" tells you that it is a beautiful, classic piece of art. If the art piece means nothing to you, it's not worth you buying it. Unless you're a professional trader, the art piece you buy is going to be something that you own and look at for years. So choose art that speaks to you. And to do that, you need to know what you like and what you don't like.

An important secondary benefit of knowing your taste is it gives you the ability to clearly state your desires to art dealers that you work with to help build your collection.

4. Negotiate the Price

Just because an art piece has a price tag on it does not mean that you have to pay that price. Art prices are not set in stone. Don't be afraid of dickering with dealers. In most cases it's even expected.

5. Insure Your Art

There are few things more devastating than losing your art treasures through fire or theft. But the financial losses can possibly even be worse.

Whenever you buy a piece of collectible art, call your insurance broker and make sure she includes it on your policy. If you have a good homeowners policy, it will probably already provide general coverage. But if you have art pieces that are documented collectible items, you want to definitely ensure that this is noted on your policy - even if you have to buy an additional rider for it.

It's also important to note that insurance will not only cover things like fire and theft, as mentioned above. It will also cover things like water damage, breakage, moving, and so on.

Now go out and start collecting. Good luck and much success in your art buying.

Wendy Hermann is a senior writer for nativearttraders writing about Inuit art gallery - buy Inuit art

Art Collecting With an Art Consultant

2008-01-18T10:32:00.000-08:00

By: wendyh

Do you love art but dont have confidence in your ability to choose and negotiate fine art pieces? If so, you may want to acquire the services of an art consultant. With an art consultant at your side, you can find art collecting not only simple, but easy and fun as well.

What does an art consultant do? An art consultant can help you through the entire art selection process - from choosing a theme to negotiating the price,.having the artwork framed, and choosing where the art piece should be located. Shell let you be her guide and provide you with an art collection that is as expensive or inexpensive as your budget allows.

There are basically two types of art consultants. The first type of art consultant is one who focus on homeowners or individual art buyers. The second type works with corporate clients.

What can an art consultant help you with? First of all, she can help you to find paintings. A good art consultant will also be knowledgeable about current prices and can negotiate fair prices for you. She can be invaluable in documenting the value of your art pieces and giving you replacement value advice for your insurance needs. She can help determine the authenticity of the art and help you avoid getting stuck with imitations or frauds.

She can also review your existing art pieces and either look for new pieces to complement them or advise you on the best ways to liquidate them if together you decide that they no longer fit with your art acquisition strategy.

Not only will the art consultant assist you in finding the perfect artwork for your home. She will also, at your request, provide custom framing and professional installation.

An art consultant can also teach you about the subtleties of art buying and selling and eventually give you the confidence to appraise artwork on your own.

And finally, if and when you are ready to sell your art - a knowledgeable art consultant will advise you on its current worth and help you to get its fair market value in the marketplace.

So what should you look for in an art consultant?

The primary attribute you should look for is experience. But not just any experience. Experience in the type of art that you want to acquire. For example, if you have a keen interest in Inuit or Native American art, youll want to find an art consultant who is knowledgeable in that field. In this case, an expert in French Renaissance art will not serve you well.

In addition to having experience with the type of art that attracts you, she should also have experience in that period of art. Knowledge of current Native American art does not automatically translate to having knowledge of 17th century Native American art.

If you love art, and dont know much about it, using an art consultant can be a nice shortcut to acquiring lovely art pieces without having to attend art school and acquire a degree in art.

Wendy Hermann is a writer and blogger for www.nativearttraders.com/inuit-art-sculpture.htm which specializes in Inuit art sculpture and gallery. Please visit our site to find unique, one of a kind art pieces.

The Bayeux Tapestry: Recreating the Norman Conquest

2008-01-18T10:28:00.000-08:00

By: David Burr

One of the most intriguing and impressive tapestry works to emerge from the Middle Ages is that of the colossal Bayeux Tapestry. Depicting the events leading up to the infamous Battle of Hastings in which William the Conqueror invaded England on Oct. 14, 1066, the tapestry is more than 70 meters long and currently resides in a museum specifically designed for the piece in Normandy, France.

Interestingly enough, the tapestry is not actually a tapestry at all, but an embroidered linen that was stitched, not woven, from eight colors of woolen thread. The fact that the piece has survived for more than 900 years is not only a testament to its remarkable appeal, but an acknowledgment of its invaluable status as the only significant remaining historical relic representing the early Norman periods in England.

Origins and Aesthetics of the Bayeux Tapestry
Although nothing is known for certain about the exact origins of the tapestry, historians believe it was commissioned by Bishop Odo of Bayeux (the half brother of William the Conqueror) around the time of 1070. The piece was believed to have been put on display in the Church of Notre Dame in Bayeux, where it remained for another 700 years. The earliest known reference to this incredibly complex work of art was recorded in a Cathedral inventory taken in 1476.

The embroidery was originally constructed from eight different sections of linen, which were then joined together to create its full length. The piece essentially looks like a giant comic strip composed of approximately 32 scenes that experts have divided into roughly 13 sections. These sections tell the story of the events leading up to the William’s defeat of England’s King Harold, with the final scenes depicting the Battle of Hastings itself. There is also evidence that the tapestry was even longer at one point, possibly by as many as seven or eight meters.

Almost Lost to History
During the French Revolution in the late 1700s the people of Bayeux used cloth to cover their ammunition wagons. When a shortage of cloth occurred the Bayeux Tapestry was cut up and used for this purpose until one man, Lambert Leonard Leforestier, noticed what was happening to the relic and put a stop to it by replacing the tapestry with other cloth. The citizenry of Bayeux eventually formed a fine arts council to protect its historical treasures.

Apparently Napoleon had the piece transported to Paris at one point as he considered the tapestry an inspiration for an attack he had planned on England. But the attack never happened, and the piece was eventually returned to the people of Bayeux.

The piece has been removed from public display at various points in history and hidden in a number of locations within France for safekeeping, most notably during the Franco-Prussian War and the First and Second World Wars. It has also undergone several restorative processes throughout the years and it remains on display at Bayeux to this day.

Depictions of the Tale
When viewing the Bayeux Tapestry, one gets the sense that much more is behind the meaning of the stylized images than initially meets the eye. On the surface, we see a tale of courage, alliances, passion, power, and conquest. But the underlying ideas and subtle nuances of each scene may in part explain why the appeal of the tapestry has endured throughout the ages and lent itself well to a wide-ranging host of philosophical interpretations.

Reproductions of the tapestry have frequently focused on specific highlights of the Norman Conquest. These snapshots not only serve to personify the work as a whole but each element manages to tell a story in itself. As such, each of these individual portrayals, while only denoting a small section of the massive embroidery, are capable of standing alone as a compelling and potent artistic work in their own right.

For example, a scene entitled William Sets Sail delivers an absorbing portrait on the tactical and strategic approaches to war, while at the same time providing a glimpse into the psychological aspects by way of facial expressions and individual poses. The scene is a reenactment of William beginning the journey to wage battle with King Harold in an effort to capture the English throne.

In another scene, entitled William Attacks, we witness the chaos and turmoil associated with the conflict. The inherent pride and nationalism of men aggressively fighting for a cause -- combined with the consequent slaughter and bloodshed – ultimately provide for a riveting reflection of our own humanity.

A Timeless Work of Art
The Bayeux Tapestry has managed to captivate audiences over the course of hundreds of years. The intricate depictions of the Norman Conquest and the Battle of Hastings, while representing a mere sliver of human history, have taken on a significance far greater than the events in the story itself for many artistic scholars. The embroidery allows us to understand the complexities of human nature, war, absolution and honor, while at the same time perhaps posing even more questions that the work itself is capable of answering.

Copyright © The Tapestry House, all rights reserved.

This is Free-Reprint article from The Tapestry House. Our terms are:
Please leave copyright statement intact
Please publish author info including links
Please do not use the article in unsolicited emails
Please keep all links intact and "as is" - no embedded keyword advertising
You can contact us at articles@thetapestryhouse.com

David Burr writes on a number of subjects for the Tapestry House including the Bayeux Tapestry. www.thetapestryhouse.com/products/list/medieval-bayeux.html

Top 10 Arts Culinary School – Tips & Info

2008-01-18T10:25:00.000-08:00

By: Anabell Amaretto

Top 10 Arts Culinary School is all about the most excellent arts cooking school located in USA. Arts Culinary Schools (ACS) are the places, where people learn the cooking art. It is considered as the one of the mounting industry with an extensive range of employment opportunities. With large job opportunities, many people are now moving towards cooking arts as their profession. Generally, cuisine needs much knowledge and innovation that necessitates appropriate education and training. At many ACS, the programs are broken down into specific arenas, depending upon the seeker’s interest. The attractiveness of these schools is that, students can change their destinations time to time, so as to append more knowledge.

Another great benefit of these culinary schools is that, students who graduate get a greater response anywhere in the world. In each city, there are always requirements for people with good culinary arts.

Some Significant Arts Culinary Schools:

The most excellent chefs' schools provide the finest amenities, trainer, cuisine service functions, job placement aids, diplomas and other hands-on sessions. In addition, they offer certifications which are esteemed and approved all over the world. Hence, it is necessary to choose a good reputable arts culinary school for more beneficial career prospect. Students can confirm the ratings and rankings of ACSs in the US from bureaus such as U.S News, World Report or Princeton Review. As per the survey conducted by this bureau, the top ten best ACSs in the United States are The French Culinary Institute of New York City, The Culinary Institute of America, Ottawa Culinary Arts Institute, New England Culinary Institute, Johnson & Wales University, L’Academie de Cuisine, California Culinary Academy, George Brown Chef School, Tante Marie’s Cooking School and Kendall College.

One of the world’s biggest cuisine and chef education institutions is Culinary Institute of America. These ACSs provide several programs including sommelier, garde manager, saucier, sous-chef, pastry-chef and executive chef. These programs are based entirely on the knowledge level that includes 1st level for basic innovation, 2nd level for much experienced cuisines and 3rd level for expert cooking.

Miscellaneous:

It is advisable to remember that, these top ten ACSs cost very much and necessitate dedication and hard-work from students. Graduates from these ACSs get a job prospect of working with the world’s famous hotel and restaurant groups and eventually, begin their own line of work.

The culinary industry does not stick to a 9 to 5 schedule, 5 days a week. The load time in the culinary industry is the weekend evening hours. If you should become a successful master chef, you must be available and at your best during the culinary industry's peak hours. Serving a fine meal for dinner is one of the main goals, and this often makes life difficult for those with families or loved ones. In order to become a successful chef, you must be able to work around such obstacles and resign yourself to living outside of the weekend. Now, that you realize you can stand the heat, and you want in to the kitchen. A formal culinary education is a must if you want to make cooking your career, and a top cooking school is just the place to start.

About The Author
Annabell Amaretto is a successful writer and webmaster at The World of Culinary Arts new and exciting weblog where she provide information how to Discover The Best Culinary Arts Schools.
www.arts-culinary-school.com

Ten Tips for Arranging Oil Paintings

2008-01-18T10:20:00.000-08:00

By: Amitai Sasson

xpress your creativity, and add sophistication to your wall - mix framed oil paintings in creative ways. Like fine ingredients in a fabulous meal, individual works of art can be combined to produce tantalizing wall decor arrangements.

The following is a list of ten well-established practices for assembling great displays that turn your ordinary wall into something special...

1.Balance - No matter what desired effect you wish your art to convey, successful art displays all have one thing in common: a cohesive balance of order, color and scale.

2.Offset large art with small. Grouping small works of art together with a single large art piece brings to life the arrangement.

3.Pay attention to the spacing between objects. The spacing should be even among all the pieces. Leave a bigger gap between oil paintings to let each piece be appreciated on its own. For a collage, the unity of the works is key, group the paintings closer together.

4.Experiment with balance. Play around with different combinations

of small and large works of art. As long as it's symmetrical and well aligned you can just go with what you like best.

5.Unity - A display can be made up of very different elements; an arrangement can still work as long as there's a unifying thread, an idea that relates the works to each other.

6.Choose a subject, theme or color. Subjects such as Nature or Travel are highly popular these days. It can be any theme as long as it links the paintings to each other. I like to create groupings by artists, group four Van Gogh paintings or three Mark Rothko art reproductions together transcends the power of their art and brings to life their unique styles and techniques.

7.Use matching frames. Matching frames are a must in linking the different art pieces together in a smooth, cohesive way.

8.Impact - Balance and unity are always important, but for a display to truly knock them off their feet, it needs to have an impact. Experiment with the arrangement, and look for ways to create drama in your display.

9.Odd numbers of framed oil paintings create the most pleasing effect. Start off by placing the central piece at eye level or slightly above on the wall, and then expand your display outward from there.

10.Use wall ledges. Ledges provide a blank canvas where you can layer the artwork so that one frame slightly overlaps the other. This technique puts the focus on the display as a whole, rather than on any individual work of art.

These ten tips are just a few guidelines that you should keep in mind in preparation on your next decorating endeavor. Hope these tips help you out to create fabulous wall arrangements that will bring light and beauty into your homes.

Article Source: http://freearticalepro.com

Amitai Sasson, of OverstockArt.com is a renowned world traveler on a mission to seek out the beauty and passion of the art world. As an avid enthusiast of art and oil paintings , he contributes greatly to the industry with his writing. Read more on our blog today!