Paintings From Photo

Given that this website is about “Paintings From Photos”, it makes sense that we discuss, at least once, the merits of good photography, and how to make the most of your digital pictures. I found the following article to be extremely helpful.

Please visit the original article page (link source at bottom) to see the actual referenced Figures noted in the below article.

Top Ten Digital Photography Tips

by Derrick Story, author of Digital Photography Pocket Guide, 3rd Edition
10/22/2002
Revised 09/06/2005, 11/05/03

You’ve heard this before: Digital cameras do all the work. You just push the button and great pictures magically appear. The better the camera, the better the photos. Isn’t that right? Heck no!

The truth is that you can make great photos with a simple consumer point-and-shoot camera, or take lousy shots with the most expensive Nikon. It’s not the camera that makes beautiful images; it’s the photographer. With a little knowledge and a willingness to make an adjustment here and there, you can squeeze big time photos out of the smallest digicam.

To help you down the road to great image making, here are ten tips that will enable you shoot like a pro (without maxing out your credit card on all that expensive equipment).
1. Warm Up Those Tones

Have you ever noticed that your shots sometimes have a cool, clammy feel to them? If so, you’re not alone. The default white balance setting for digital cameras is auto, which is fine for most snapshots, but tends to be a bit on the “cool” side.

When shooting outdoor portraits and sunny landscapes, try changing your white balance setting from auto to cloudy. That’s right, cloudy. Why? This adjustment is like putting a mild warming filter on your camera. It increases the reds and yellows resulting in richer, warmer pictures.

Figure 1a is shot outdoors in a mountain environment with the white balance set to auto. Figure 1b shows warmer tones thanks to using the “cloudy” setting and a pair of Costa Del Mar sunglasses over the front lens. (Canon PowerShot S200, Program mode)

Cool version.
Figure 1a.

Warm version
Figure 1b.

If you don’t believe me, then do a test. Take a few outdoor shots with the white balance on auto, then take the same picture again with the setting on cloudy. Upload the images to your computer and look at them side by side. My guess is that you’ll like the warmer image better.
2: Sunglasses Polarizer

If you really want to add some punch to your images, then get your hands on a polarizing filter. A polarizer is the one filter every photographer should have handy for landscapes and general outdoor shooting. By reducing glare and unwanted reflections, polarized shots have richer, more saturated colors, especially in the sky.

What’s that you say? Your digital camera can’t accommodate filters. Don’t despair. I’ve been using this trick for years with my point-and-shoot cameras. If you have a pair of quality sunglasses, then simply take them off and use them as your polarizing filter. Place the glasses as close to the camera lens as possible, then check their position in the LCD viewfinder to make sure you don’t have the rims in the shot.

If your camera doesn’t accept filters, then you can still achieve the effects of a polarizer by placing your sunglasses over the lens. Figure 2a is shot normally without any filtration. Figure 2b is shot during the same session, but with sunglasses placed over the lens. Notice the enhanced colors and deeper sky tones. (Canon PowerShot S200, Program mode)

Without a filter.
Figure 2a.

With a filter.
Figure 2b.

For the best effect, position yourself so the sun is over either your right or left shoulder. The polarizing effect is strongest when the light source is at a 90-degree angle from the subject.
3. Outdoor Portraits That Shine

One of the great hidden features on digital cameras is the fill flash or flash on mode. By taking control of the flash so it goes on when you want it to, not when the camera deems it appropriate, you’ve just taken an important step toward capturing great outdoor portraits.

In flash on mode, the camera exposes for the background first, then adds just enough flash to illuminate your portrait subject. The result is a professional looking picture where everything in the composition looks good. Wedding photographers have been using this technique for years.

With fill flash.
Figure 3. By placing the subjects in the open shade beneath a tree and turning on the fill flash, both the boys and the background are properly exposed. (Canon PowerShot G2, 1/250th at f-4, flash on)

After you get the hang of using the flash outdoors, try a couple variations on this theme by positioning the subject so the sun illuminates the hair from the side or the back, often referred to as rim lighting. Another good technique is to put the model in the shade under a tree, then use the flash to illuminate the subject. This keeps the model comfortable and cool with no squinty eyes from the harsh sun, and this often results in a more relaxed looking portrait.

Remember, though, that most built-in camera flashes only have a range of 10 feet (or even less!), so make sure you don’t stand too far away when using fill flash outdoors.
4. Macro Mode Madness

Remember as a kid discovering the whole new world beneath your feet while playing on the grass? When you got very close to the ground, you could see an entire community of creatures that you never knew existed.

These days, you might not want to lie on your belly in the backyard, but if you activate the close up mode on your digital camera and begin to explore your world in finer detail, you’ll be rewarded with fresh new images unlike anything you’ve ever shot before.

Even the simplest object takes on new fascination in macro mode. And the best part is that it’s so easy to do with digital cameras.

Close up mode.
Figure 4. Nature looks much different, and sometimes more compelling, at close range. (Canon PowerShot G2, Programmed exposure, spot meter, Close Up mode, flash off)

Just look for the close up or macro mode icon, which is usually a flower symbol, turn it on, and get as close to an object as your camera will allow. Once you’ve found something to your liking, hold the shutter button down halfway to allow the camera to focus. When the confirmation light gives you the go ahead, press the shutter down the rest of the way to record the image.

Keep in mind that you have very shallow depth of field when using the close up mode, so focus on the part of the subject that’s most important to you, and let the rest of the image go soft.
5. Horizon Line Mayhem

For some mysterious reason, most human beings have a hard time holding the camera level when using the LCD monitors on their digicams. The result can be cockeyed sunsets, lopsided landscapes, and tilted towers.

Part of the problem is that your camera’s optics introduce distortion when rendering broad panoramas on tiny, two-inch screens. Those trees may be standing straight when you look at them with the naked eye, but they seem to be bowing inward on your camera’s monitor. No wonder photographers become disoriented when lining up their shots.

Finding horizontal lines.
Figure 5. How do you square up an image in the LCD viewfinder so it appears “level” when you view it later on the computer? Look for nature’s horizontal lines and use them as guides. Sometimes you can use the line where the sky meets the ocean, other times you can use a strip of land as your level. In this case I used the shoreline of a mountain lake to help me align this composition. (Canon PowerShot G2, Aperture Priority exposure set to f-8, polarizer filter)

What can you do? Well, there’s no silver bullet to solve all of your horizon line problems, but you can make improvements by keeping a few things in mind.

First of all, be aware that it’s important to capture your images as level as possible. If you’re having difficulty framing the scene to your liking, then take your best shot at a straight picture, reposition the camera slightly, take another picture, and then maybe one more with another adjustment. Chances are very good that one of the images will “feel right” when you review them on the computer. Simply discard the others once you find the perfectly aligned image.

If you practice level framing of your shots, over time the process will become more natural, and your percentage of level horizon lines will increase dramatically.
6: Massive Media Card

When you’re figuring out the budget for your next digital camera, make sure you factor in the purchase of an additional memory card. Why? Because the cards included with your new high-tech wonder toy are about as satisfying as an airline bag of peanuts when you’re dying of hunger.

If you have a 3 megapixel camera, get at least a 256MB card, 512MBs for 4 megapixel models, and 1GB for for 6 megapixels and up.

That way you’ll never miss another shot because your memory card is full.
7: High Rez All the Way

One of the most important reasons for packing a massive memory card is to enable you to shoot at your camera’s highest resolution. If you paid a premium price for a 6 megapixel digicam, then get your money’s worth and shoot at 6 megapixels. And while you’re at it, shoot at your camera’s highest quality compression setting too.

Why not squeeze more images on your memory card by shooting a lower resolution and low quality compression settings? Because you never know when you’re going to capture the next great image of the 21st century. And if you take a beautiful picture at the low 640 x 480 resolution, that means you can only make a print about the size of a credit card, not exactly the right dimensions for hanging in the museum.

Related Reading
Digital Photography Pocket Guide

Digital Photography Pocket Guide
By Derrick Story
Table of Contents
Index

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On the other hand, if you recorded the image at 2272 x 1704 (4 megapixels) or larger, then you can make a lovely 8- x 10-inch photo-quality print suitable for framing or even for gracing the cover of Time magazine. And just in case you were able to get as close to the action as you had liked, having those extra pixels enables you to crop your image and still have enough resolution to make a decent sized print.

The point is, if you have enough memory (and you know you should), then there’s no reason to shoot at lower resolution and risk missing the opportunity to show off your work in a big way.
8: Tolerable Tripod

I once overheard someone say, “He must be a real photographer because he’s using a tripod.” Well, whether or not you use a tripod has nothing to do with you being a true photographer. For certain types of shots though, these three-legged supports can be very useful.

The problem is tripods are a pain in the butt to carry around. They are bulky, unwieldily, and sometimes downright frustrating. Does the phrase “necessary evil” come to mind?

For digital shooters there’s good news: the UltraPod II by Pedco. This compact, versatile, ingenious device fits in your back pocket and enables you to steady your camera in a variety of situations. You can open the legs and set it on any reasonable flat surface such as a tabletop or a boulder in the middle of nowhere. But you can also employ its Velcro strap and attach your camera to an available pole or tree limb.

The UltraPod II.
Figure 6. The UltraPod II is lightweight and affordable (less than $20 typically).

You might not need a tripod that often, but when you do, nothing else will work. Save yourself the pain and money of a big heavy lug of a pod, and check out the svelte UltraPod. Yes, then you too can be a real photographer.
9: Self Timer Fun

Now that you have your UltraPod in hand, you can explore another under-used feature found on almost every digital camera: the self timer. This function delays the firing of the shutter (after the button has been pushed) for up to 10 seconds, fixing one of the age old problems in photography: the missing photographer.

Hey, just because you’ve been donned as the creative historian in your clan, that doesn’t mean that your shining face should be absent from every frame of the family’s pictorial accounting. You could hand your trusty digicam over to strangers while you jump in the shot, but then you take the chance of them dropping, or even worse, running off with your camera.

Instead, attach your UltraPod, line up the shot, activate the self timer, and get in the picture. This is usually a good time to turn on the flash to ensure even exposure of everyone in the composition (but remember that 10 foot flash range limit!). Also, make sure the focusing sensor is aimed at a person in the group and not the distant background, or you’ll get very sharp trees and fuzzy family members.

Self timers are good for other situations, too. Are you interested in making long exposures of cars driving over the Golden Gate Bridge at dusk? Once again, secure your camera on a tripod, then trip the shutter using the self timer. By doing so, you prevent accidental jarring of the camera as you initiate the exposure.
10. Slow Motion Water

I come from a family where it’s darn hard to impress them with my artsy pictures. One of the few exceptions happened recently when my sister commented that a series of water shots I had shown her looked like paintings. That was close enough to a compliment for me.

What she was responding to was one of my favorite types of photographs: slow motion water. These images are created by finding a nice composition with running water, then forcing the camera’s shutter to stay open for a second or two, creating a soft, flowing effect of the water while all the other elements in the scene stay nice and sharp.

You can create a painterly effect with moving water by mounting your camera on a tripod and slowing the shutter to an exposure of 1 second or longer. (Canon PowerShot G2, Aperture priority set to f-8, shutter speed 1 second, polarizer filter, UltraPod II tripod)

With slowed shutter speed.
Figure 7a.

With slowed shutter speed.
Figure 7b.

You’ll need a tripod to steady the camera during the long exposure, and you probably should use the self timer to trip the shutter. If you camera has an aperture priority setting, use it and set the aperture to f-8, f-11, or f-16 if possible. This will give you greater depth of field and cause the shutter to slow down.

Ideally, you’ll want an exposure of one second or longer to create the flowing effect of the water. That means you probably will want to look for streams and waterfalls that are in the shade instead of the bright sunlight.

Another trick is to use your sunglasses over the lens to darken the scene and create even a longer exposure. Plus you get the added bonus of eliminating distracting reflections from your composition.
Final Thoughts

Most digital cameras, even the consumer point-and-shoot models, have a tremendous amount of functionality built into them. By applying a little ingenuity and creativity, you can take shots that will make viewers ask, “So what kind of camera do you have?”

You can tell them the answer, but inside, you’ll know it’s not the camera responsible for those great pictures. It’s the photographer.

Derrick Story is the digital media evangelist for O’Reilly. His current book is The Digital Photography Companion. You can follow him on Twitter or visit www.thedigitalstory.com.

This article will provide you with a general understanding of some of the more basic watercolour painting techniques.

Flat Wash Technique - The flat wash technique is one of the more basic and common of the various techniques. The flat wash technique is usually used when large areas of the canvas need to be covered. You will want to lay out the watercolor wash evenly and uniformly. First you will need to dampen the area of your canvas where you will be applying the watercolor wash. Make certain to have an adequate amount of water and pigment available before your start. If you should have to stop for any reason, it will be difficult to match your layers.. It is better to have more than less available. The angle at which you apply the watercolour wash is important. If the angle is too steep your wash will run down the paper. If the angle is too level, then you won’t have enough movement. Use a large brush for this technique and start your first stroke at the top of the paper. Continue applying the watercolor wash going down the paper, but alternate sides as you move down.

Glazing Technique - The glazing technique is when you apply a thin transparent color over a completed dry layer of color. This technique creates some very interesting blends of new color. You will need to use a non-staining, transparent color for this watercolor technique. You should use a soft brush and don’t apply that much pressure.

Wet In Wet Technique - Wet in wet is simply applying a wet wash over a wet surface. You start by evenly wetting the paper with a brush or spray bottle. Have a sponge handy to absorb any excess water. You want your paper to be evenly saturated. Then apply your watercolour.

Dry Brush Technique - With the dry brush technique, your paper is completely dry. You then apply a fairly dry pigment with very little water to the paper.
The dry brush technique should only be used where you want to draw focus or create texture in your painting. It’s always a good idea to use various watercolor brush techniques in a single painting. This results in a more interesting painting.

Lifting Off Technique - Artists use this technique when they want to remove watercolor from a certain area of the panting. It is usually done by first wetting the area that needs to be removed with a clean sponge and then absorbing the color with a tissue. If you find that the color does not come off right away, then let the water soak in a bit longer and try again. If you still are unable to remove the color, then dampen a bristle brush and gently scrub the area. You should use extreme care with this watercolor technique, as there is a risk you can damage the paper.

Article Source - Introduction To Watercolor Painting Techniques

When I first began painting some 10 years ago, I remember my first trip to my local art supply store. I recall my feeling of utter confusion as I perused the aisles. This particular art store had every tube of paint, brush, medium and canvas known to man, far too many choices for a confused beginner. After several moments, a sales person came by and began to assist me in finding the supplies I needed. To make a long story short, I left the store 30 minutes later with a box full of supplies, half of which I had absolutely no idea what to do with. I wish I knew then what I know now. I could have saved myself a lot of money.

When you are first starting out in oil painting, you shouldn’t go overboard on supplies. It’s best to start with the basics. When you become more experienced, you can then try out different supplies until you find the items you are most comfortable working with.

Oil Painting Brushes - Brushes come in various sizes and shapes from flats to brights to rounds. They are also available at various prices. Brushes are something you should definitely spend a bit extra on and shoot for quality. You don’t want cheap brushes. Cheap brushes are a huge headache mainly because they shed hair and lose their shape quicker than quality brushes. The types of brushes you purchase really depend on the type of painting you plan on doing: landscapes, portraits, impasto work, etc., all call for certain types of brushes. You will only learn this over time as you become more experienced and develop your own style. For starters, I would purchase a few flats of various sizes, a few small rounds for detailed work and a fan for blending. Make sure to also purchase a good brush cleaner and preserver. I use the Marx Brush Care System for cleaning and preserving my brushes and it works great.

Oil Paints - Oil paint also varies in price and quality. There are some very good paints on the market today. I prefer to work with Grumbacher Artist Oils, but Winsor & Newton oil paints are also quite popular. There are different grades of paint. There are student grade paints and professional grades. My own preference is to work with the professional grades, as the colors are more brilliant than student grade paints. I guess it’s ok in the beginning to purchase a lesser quality for learning and experimentation. I guarantee once you try the professional grade paints, you will never go back to student grade. This is my opinion of course. Artist color choices vary. Some prefer a limited palette of only a few colors, while others prefer to have a variety of different colors at their disposal.

Here are the colors of my palette. You do not have to buy these exact colors, as this is only my preference that has developed over time.

Cadmium Yellow Light
Yellow Ochre
Cadmium Red Light
Cadmium Orange
Burnt Sienna
Raw Sienna
Burnt Umber
Alizarin Crimson
Sap Green
Thalo Blue
Ivory Black
Titanium White

Oil Painting Mediums - Medium preference varies greatly from artist to artist. I think every artist has his or her own mixtures and formulas. I myself use linseed and poppy oil. Linseed oil has a tendency to yellow the colors so I do not mix it with my lighter color mixtures. For lighter color mixtures, I use poppy oil as it has less of a tendency to yellow. There are other mediums available. I recommend that you try your own mediums and recommendations from artists until you find something that produces the results you are after.

Canvas and Other Supports - The popular support that many artists work with is cotton canvas, but there are other supports available. Some other choices are linen canvas, boards and canvas paper for instance. You could also buy rolled canvas and stretch your own if desired. This again is something you have to experiment with until you find a support that works best with your style of painting. I recommend starting with a few smaller to medium sized canvases. I work with FREDRIX Red Label Stretched Cotton Canvas. Red Label is a medium textured quality canvas excellent for use with oils and a popular choice amongst oil painters.

Palette - Palettes are made from various materials including glass,wood, plastic, and even paper. My palette of choice is the BOB ROSS Clear Palette. This palette is wonderful. It’s easy to clean, holds a lot of paint with adequate room to mix your colors. It’s also priced quite reasonably.

Easels - Easels are also available in various sizes and price ranges. You will need a good stable easel to paint on; otherwise your canvas will wobble around when you paint. This can be quite frustrating. You also need to decide whether you will be painting primarily in your studio or if you are an outdoor painter. If you are painting outdoors you should consider purchasing a French easel. The JACK RICHESON Academy Verona Half French Easel is a good buy. If you work primarily in your studio, then you have a lot of easels to choose from. I personally use a STANRITE 500 Classic Aluminum Easel. It’s an excellent easel that is both lightweight and sturdy. It sets up easily and can be folded for easy transport.

Article Source - Oil Painting Supplies - Guide For Beginners

The acrylic painting medium is a fairly new addition to the various painting mediums available to todays artists. It has been around since the 1950’s and has been continually under development and refinement ever since.

Acrylic paint is highly favored amongst artists because of its wonderful versatility. It can be applied thickly as an impasto having rich texture or in washes mimicking the characteristics of watercolor.

Another likable characteristic of acrylic paint is its permanence. Acrylic paint is not susceptible to yellowing or hardening with age. With acrylic paint, the artist does not need to be concerned with the order the paint is applied or other special techniques that ensure the paint film remains free from cracking. So it can be said that acrylic paint is much easier to use than oil paint.

Yet another characteristic that invites new artists to this medium is its fast drying time. Since acrylic paint dries so quickly, colors can be applied and overlaid quicker than with oil painting.

There are however a few downsides to the quick drying time of acrylic paints:

1) The paint will not remain workable for very long, so you have to work quickly.

2) The fast drying time of acrylics can also ruin brushes if the brushes are not cleaned immediately.

3) Acrylic paint is not the best medium for direct painting outdoors, especially on a bright sunny day. Whatever paint you put out on your palette will begin to dry quickly and form a skin over the surface of the paint making it very difficult to work with.

ACRYLIC PAINTING TECHNIQUES

Watercolor Effects

Acrylic paint works wonderfully as a transparent medium, similar to watercolor. Acrylics do have an advantage over watercolors. You can lay out a number of thin washes over one another without fear of disturbing the colors underneath. You must wait for one layer to dry completely before applying another of course. Once each layer dries it becomes insoluble in water. The only disadvantage to using acrylics as a watercolor medium is the difficulty in modifying the color. Once acrylic paint begins to dry it becomes rather difficult to work with. One of the biggest problems is the tendency for washes to dry with unwanted hard edges. You can avoid this problem in one of two ways. You can either dampen the paper before the paint is applied or you can use an additional brush dampened with water. Use one brush to apply the paint and immediately soften the edge with the other brush that has been dampened with the water.

Blending Opaque Colors

With watercolor effects, the acrylic paint is applied in transparent washes. With the opaque technique the paint layers are non-transparent. Blending opaque acrylic colors can be a bit tricky as you are kind of pressed for time. It is important therefore to only work on areas that you know you will have enough time to blend. To blend two colors, first paint a block of each color side by side on your support. Where the two colors join paint down that line with a clean damp brush to soften the edges. To blend the colors even further, move the blending brush from side to side or up and down, until the desired blending is achieved.

Sgraffito Technique

Sgraffito is a scratching technique. It got its name from the Italian word “graffiare” which literally means “to scratch”. Just as the name implies it involves scratching into the surface of the wet paint which reveals either the ground or layer of dry color underneath. There are a number of different tools that can be used for this technique. Tools like screwdrivers or the sharpened end of an old paintbrush handle should suffice. It really depends on the support you are using. For instance, a screwdriver may not be the best tool if you are using a panel as a support. The hard metal may damage the panel, so you would need to use a softer tool.

Using a Squeegee

A regular squeegee that you can purchase at any hardware or auto store can create some interesting effects when used with acrylic paint. First you would squeeze out some paint blobs directly along one edge of your support. You can layout whatever colors you wish. Then with one fluid motion you would drag the paint across the support with your squeegee, which will smear and mix the paint and create some very unique and interesting designs. You may need to alter your squeegee a bit as the rubber blade that comes with most squeegees may not be rigid enough to drag the paint. You can remove the rubber blade and in its place glue in a regular wooden ruler. This will give you a flat sturdy edge to manipulate the paint.

I hope you have enjoyed this article on acrylic painting techniques. Take some time today to experiment with these techniques and have fun. Happy Painting!

Article Source - Acrylic Painting Techniques For Beginners

The Principles Of Design refer to the organization of a work of art. Each Principle interprets how an artist uses the Elements of Art, composition and design to express their feelings and ideas. By studying these, your own work will become more sophisticated as you will begin to apply this new knowledge to your own works of art. Let’s take a look at each one.

Rhythm & Movement

The words Rhythm and Movement are often associated with music, dance and sports. We think of steady marching rhythms, drum beats and the pulsing sound of the bass on the radio as types of rhythms. The darting of soccer players, the graceful flow of ballet dancers and the artful dodging of basketball players emphasize Movement. Art also has rhythm and movement, a visual rhythm, a rhythmic movement.

Balance

As humans we experience the need for Balance in our everyday life. We use it as we walk or run and to carry things. Balance is also necessary in other ways. We need to balance our awake and sleeping periods, our food intake and energy exports, and relaxation and stress. Balance is also important to a work of art. A balanced artwork leaves the viewer feeling “visually comfortable”. On the other hand, a work that is not balanced creates a sense of visual stress.

Proportion

The word “Proportion” means one part in relation to another. All people have a sense of proportion concerning themselves as compared to others. “My nose is too long for my face”. “She has long legs”. “His eyes are wide set.” All of these comments reinforce the idea that we see and have opinions about the relationships between one thing compared to another. Artists use their sense of Proportion to make statements or express a particular feeling about a subject in a work of art.

Variety keeps life interesting. Imagine if everything in your life was the same, day in and day out. Imagine the monotony! Artists also understand the importance of Emphasis in their work. Usually one part or area is given more detail to enhance that section.

Harmony & Unity

“Harmony” in music results in pleasing tones to the ears. “Harmony” in art results from a combination of related Elements of Art creating a pleasing work for the eye. “Unity” infers that the work of art is presented as a ” whole”. When a work of art has “Unity”, the viewer sees the work as a whole, not in separate sections.

_______________________________________________

Article Source - The Elements of Art

GOOGLE SEARCH ENGINE QUERY RESULTS

Top search queries (www.portrait-paintings-from-photo.com)

The top 8 queries in which your site appeared, and the percentage of the top 20 queries represented by each search.

# % Query Position

1 1% anne elisabeth stengl 1

2 56% anne elisabeth 3

3 4% “anne elisabeth” 4

4 2% elisabeth stengl 4

5 1% artist of portait photography 9

6 2% picture your portrait 12

7 1% portrait paintings from photo 76

8 1% portrait paintings from photo nc 2

As noted in my previous post, search result positions will vary from day to day, but they represent a snap shot of what google sees, and where you are ranked for the noted important key phrases, as of this week. Congratulations! ~ Bob

P.S. - You can always come back to this post, click on each phrase to see how you’re doing from week to week.

GOOGLE SEARCH ENGINE QUERY RESULTS

Top clicked queries for the domain (www.portrait-paintings-from-photo.com)

The top 20 queries from which users reached your site, and the percentage of the top 20 queries represented by each click.

# % Query Position

1 10% portrait artist apex 3

2 10% portrait painter raleigh 12

3 7% portrait painter raleigh nc 13

4 7% portrait painter cary 16

5 7% portrait painter nc 27

6 7% portrait artist raleigh 29

7 5% artist photo portrait painter nc 1

8 5% portrait painting artist raleigh 1

9 5% portrait painting artist raleigh nc 1

10 5% portrait painter apex 2

11 5% portrait painting artist apex 2

12 5% make portait from a photo 6

13 5% portrait painting artist cary 6

14 5% portrait artist apex nc 13

15 5% portrait artist raleigh nc 18

16 5% portrait artist cary 27

17 5% portrait painter cary nc 29

The Elements Of Art are the building blocks of art creation. They can be analyzed, organized, and manipulated by artists. They are the VISUAL LANGUAGE of art. Each of the Elements is important. When looking at a work of art, see if you can identify which Elements of Art the artist stressed, organized or used to express a message or to create a mood.

How many types of lines can you make? How important are lines to our environment? The artist recognizes the power of the “Line” when he or she creates a work of art. Let’s take a more detailed look at “Line” and its impact on our world and the world of art.

Many people would argue that the Element of “Color” has the most effect on a work of art. Consider what our world would look like if everything was black, white and shades of gray? The effects of “Color” on humans has been studied many times. Artists have known that “Color” has a powerful effect on their works and on the impressions of the viewers. Let’s see what “Color” is and just how it is used in the visual arts.

An element of art which refers to the surface quality or “feel” of an object, its smoothness, roughness, softness, etc. Textures may be actual or simulated. Actual textures can be felt with the fingers, while simulated textures are suggested by the way the artist has painted certain areas of a picture.

Shapes are everywhere. More common ones are given names such as circle or square. There are an infinite amount of shape possibilities and combinations. Let’s see what role “Shape” plays in works of art and just how an artist uses the Element “Shape”.

Forms are often called the “three-dimensional shapes”. Unlike flat, two-dimensional areas, Forms are represented as “three-dimensional”. The great illustrators and sculptors of the world of art have mastered the Element Form. Let’s see how they did it!

Often we do not consider Space when we create a work of art. It often just seems to happen. Let’s take a look at how Space effects a work of art and just how artists use Space to create interest in their works.

Value refers to the lightness or darkness of a color. It also refers to how artists use other Elements Of Art to create a sense of light or dark.

Many art students enjoy drawing, but many of them say, “I can’t draw!” Discovering ways to instill in them, and give confidence, that they can draw can be a difficult task.

Chuck Close is a gifted artist with a dissability. Students were curious about his way of painting when they learned that Chuck paints with a paintbrush strapped to his hand, and that he is wheelchair bound. So when students think if he could paint like that, they could try to draw too.

By showing them examples of Chucks work and presenting them with the grid system, students begin to feel more comfortable… focusing on one inch at a time. Looking at 1-inch sections at a time, and not the whole portrait, helps students not to be overwhelmed by the thought of drawing the whole portrait.

The most difficult part then was ruler skills. Many students were having difficulty with the exact grid dimensions on their photocopied portrait picture and their drawing paper. I found them to be losing patience and getting frustrated, so making a grid on drawing paper myself 1 inch by 1 inch squares on a 8 ½” X 11″ sheet and putting in the photocopier with transparencies to have them be the same, simplified things tremendously.

All the students had to do was to tape the grid transparency to the portrait photocopy. They found this to be helpful and less frustrating. This then gave them the confidence they needed to look at the portrait and assess the shapes and values more closely.

Drawing the human figure is one of the most difficult things and my students always are intimidated by it, these modifications relived some of that tension and gave them the confidence that they need to believe in themselves that they can do it. It also got them quickly into the drawing part of the assignment.

Many times there are just too many preparation steps in a project and students lose interest and then are not motivated to complete the assignment. It is our job as teachers to keep students motivated and these simple project modifications are an example of that.

Article Source: Drawing By The Grid Method