Credits to:
http://painting.about.com/od/acrylicpainting/a/10tips_acrylics.htm
Acrylic Painting Tip 1: Keeping Acrylic Paints Workable
Because acrylics dry so fast, squeeze only a little paint out of a tube. If you're using a 'normal' plastic palette invest in a spray bottle so you can spray a fine mist over the paint regularly to keep it moist. 'Stay-wet' palettes – where the paint sits on a sheet of wax paper place on top of a damp piece of watercolor paper – eliminate the need to do this, but generally don't have a hole for your thumb so are more awkward to hold in your hand.
Acrylic Painting Tip 2: Blot your Brushes
Keep a piece of paper towel or cloth next to your water jar and get into the habit of wiping your brushes on it after you rinse them. This prevents water drops running down the ferrule and onto your painting, making blotches.
Acrylic Painting Tip 3: Opaque or Transparent
If applied thickly – either straight from the tube or with very little water added – or if mixed with a little white, all acrylic colors can be opaque. If diluted, they can be used like watercolors or for airbrushing.
Acrylic Painting Tip 4: Acrylic vs. Watercolor Washes
When an acrylic wash dries, it's permanent and, unlike a watercolor wash, is insoluble and can be over-painted without fear of disturbing the existing wash. The colors of subsequent washes mix optically with the earlier ones. A watercolor glaze can be lifted out using water and a cloth.
Acrylic Painting Tip 5: Think Thin When Thinking Glazes
If you want transparent glazes, these should be built up in thin layers; a heavy layer will produce a glossy surface.
Acrylic Painting Tip 6: Improve Flow without Losing Color
To increase the flow of a color with minimal loss of color strength, use flow-improver medium rather than just water.
Acrylic Painting Tip 7: Blending Acrylic Paints
Because acrylics dry rapidly, you need to work fast if you wish to blend colors. If you're working on paper, dampening the paper will increase your working time.
Acrylic Painting Tip 8: Hard Edges
Masking tape can be put onto and removed from dried acrylic paint without damaging an existing layer. This makes it easy to produce a hard or sharp edge. Make sure the edges of the tape are stuck down firmly and don't paint too thickly on the edges, otherwise you won't get a clean line when you lift it.
Acrylic Painting Tip 9: Washing-up Liquid with Masking Fluid
Masking fluid can be used with acrylics washes, as well as watercolors. Once masking fluid has dried in a brush, it's nearly impossible to remove. Dipping a brush into some washing-up liquid first makes it easier to wash masking fluid out of a brush.
Acrylic Painting Tip 10: Using Acrylic Paint as a Glue for Collage
Provided it's used fairly thickly and the item to be stuck isn't too heavy, acrylic paint will work as glue in a collage.
Labels: Ruth(11)
Labels: Andriana F. (40)
Labels: Ruth(11)
#Task 2:Part 7)Sculpture
Stone sculpture is the result of forming 3-dimensional visually interesting objects from stone.
Carving stone into sculpture is an activity older than civilization itself. Prehistoric sculptures were usually human forms, such as the Venus of Willendorfand the faceless statues of theCycladic cultures of ancient Greece. Later cultures devised animal, human-animal andabstract forms in stone. The earliest cultures used abrasive techniques, and modern technology employs pneumatic hammers and other devices. But for most of human history, sculptors used hammer andchisel as the basic tools for carving stone.
The work begins with the selection of a stone for carving. The artist may carve in the direct way, by carving without a model, creating a form or figure from scratch, with only the idea in his mind as a guideline, sketching on the block of stone and developing the work along the way. This method can be inspiring but can also present major problems when too much stone is removed in previous stages.
Or the sculptor may begin with a clearly defined model to be copied in stone. Frequently the sculptor would begin by forming a model in clay or wax, and then copying this in stone by measuring with calipers or apointing machine. This method leaves much less chance for error, so the desired result can be achieved as expected. This method is also used when the carving is done by other sculptors, such as artisans or employees of the sculptor.
Some artists use the stone itself as inspiration; the Renaissanceartist Michelangelo claimed that his job was to free the human form trapped inside the block.
When he or she is ready to carve, the carver usually begins by knocking off, or "pitching", large portions of unwanted stone. For this task he may select a point chisel, which is a long, hefty piece of steel with a point at one end and a broad striking surface at the other. A pitching tool may also be used at this early stage; which is a wedge-shaped chisel with a broad, flat edge. The pitching tool is useful for splitting the stone and removing large, unwanted chunks. The sculptor also selects a mallet, which is often a hammer with a broad, barrel-shaped head.
along the tool, shattering the stone. Most sculptors work rhythmically, turning the tool with each blow so that the stone is removed quickly and evenly. This is the “roughing out” stage of the sculpting process.
Once the general shape of the statue has been determined, the sculptor uses other tools to refine the figure. A toothed chisel or claw chisel has multiple gouging surfaces which create parallel lines in the stone. These tools are generally used to add texture to the figure. An artist might mark out specific lines by using calipers to measure an area of stone to be addressed, and marking the removal area with pencil, charcoal or chalk. The stone carver generally uses a shallower stroke at this point in the process.
Eventually the sculptor has changed the stone from a rough block into the general shape of the finished statue. Tools called rasps and rifflers are then used to enhance the shape into its final form. A rasp is a flat, steel tool with a coarse surface. The sculptor uses broad, sweeping strokes to remove excess stone as small chips or dust. A riffler is a smaller variation of the rasp, which can be used to create details such as folds of clothing or locks of hair.
The final stage of the carving process is polishing. Sandpaper can be used as a first step in the polishing process, or sand cloth. Emery, a stone that is harder and rougher than the sculpture media, is also used in the finishing process. This abrading, or wearing away, brings out the color of the stone, reveals patterns in the surface and adds a sheen. Tin and iron oxides are often used to give the stone a highly reflective exterior.
a stone sculptor carving an angel. (taken from http://en.wikipedia.org/wiki/File:Stonemasonry1.jpg)
Labels: Andriana F. (40)
Labels: Andriana F. (40)
Labels: Charmiane (:[8]
This painting depicts my mother’s tender love for me.
The lily pad represents my mother.
The flower represents my mother’s gentle love for me.
The heart in the middle of the flower represents me.
The rippling water (blue area) around the lily pad represents problems that my mother and I encounter.
Despite the problems we face, our love for each other never dies. She protects me despite the problems she might face. She sacrifices herself for me. Thus, I would like to take this opportunity to thank my mother.
Labels: Shafraaz(32)
Designer:Hazel
Software:Dreamweaver8
There are NO basecodes used.