Come with, you will have more information about arts in different fields like art galleries, artists, painters, oil paintings, crafts, art design, literature, visual poetry, portrait.

Mural Painting

Mural painting is a kind of painting that is designed and structured in order to enhance the exquisiteness of the ceilings and walls of the workplace or home. Apart from various other architectural decoration techniques available in the market such as bas-relief sculpture, mosaic, wood or stone inlay and graffito, wall mural is one of the most preferred techniques among the interior designers and architectures. It is the most cost effective ceilings and walls decoration techniques that can increase the charm and beauty of any kind of building and structure. The main objective behind going ahead with this kind of wall painting is to give a new lively look to your building and make your place different from others.

In modern times we still see murals being painted, but now often as political propaganda or commercial advertising. The availability of wallpaper and other commercial decorative features has made painting an expensive option but fortunately there still exists a market for purely decorative murals. In popular culture spray can graffiti has created its own heritage of mural art.

Trompe L’Oeil.

The late Greek and Roman period discovered the decorative the use of trompe l’oeil – that is making a flat wall surface seem as if it is 3D architecture, simply by painting it on with light and shade. Impossible architectural fantasies became possible in the hands of an artist. In Pompeii and Herculaneum there are many surviving murals using fantastic trompe l’oeil. The technique really came into it’s own in the Renaissance period. Ceilings became decorated as skies full of clouds and cherubs, walls had balustrades and pillars giving onto fantastic landscapes with battles raging and mythological creatures roaming. In the hands of the great Italian masters churches and palaces were decorated with masterpieces in this style at which we still marvel today.

Mural Techniques.

The techniques of the earliest painters were not necessarily best for the survival of their works. The cave painters most probably drew directly onto the rock with blocks of pigment or charcoal, using no medium to adhere the paint to the surface. Where examples survive, such as Lascaux in France, the limestone ground has become calcinated with natural dampness over time and has spontaneously adhered the pigment to the wall.

It is known that the Ancient Egyptians had Gum Arabic (resin from the Acacia tree – which we still use as the binder for watercolours). They also used egg tempera (pigment bound with the white of an egg). Most importantly where murals are concerned, they understood how to paint ‘fresco’. That is, painting raw pigment into fresh lime plaster before it dries. Most surviving murals of antiquity and the renaissance have used this technique. The great advantage of this technique is that the pigment colour combines with the natural calcination of the plaster as it dries, so it never fades. Subsequently, the technique of fresco was passed down from Greek to Roman and Roman to the Renaissance, so it has left us with a rich legacy of ancient art with which to understand the psychology and wisdom of our ancestors.

Graffiti, Street Art

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Known in his early days as graffiti icon ESPO, Steve Powers has been a charismatic figure in both New York’s art and graffiti world throughout the past 20 years. Seen all over the streets of Philadelphia, New York, and Brooklyn, his flat top and name have been synonymous throughout these street scenes since the mid-90s. However, after ESPO’s success for several years, Steve decided to step away from the shadow lands of graffiti and establish himself as a sign painter. In this episode of Art Talk we accompany Steve to explore his new project “Love Letter to Brooklyn” in the heart of downtown at the old Macy’s parking garage. We get a behind the scenes look into his life as ESPO, how his work has developed over the years, and his life as a dad. [Read more]

Flower Arrangement

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Flowerona is a flower-inspired blog written by Rona Wheeldon. Rona is passionate about flowers and her aim for Flowerona is for it to be a ‘feel good’ place for people to escape to and be inspired by… Based near London in England, Rona writes about all things flower related. Topics include fresh flowers, florists, floristry courses, weddings, artists, designers, gardening, shows, books, photographers and fashion.

After fifteen years in the corporate world, her love of flowers was reawakened when she signed up for a floristry evening class in 2004. She enjoyed it so much that she went part-time at her job in London, in order to study for a formal floristry qualification. [Read more]

Music is a very important part of one’s life. People listen to music while doing something very ordinary like washing the dishes or cleaning the house, and also in special occasions like weddings and birthday parties. Movies or TV shows will not be the same without music.

There are many benefits that one can get from instrumentals. One of them is that it is very relaxing to listen to pure music, without lyrics or a singer’s voice. Listening to the sound of guitar, violin, piano, flute and other very relaxing musical instruments is incredibly enjoyable, practitioners have found out that it may also possess a tremendously positive effect near to the mind, whole body and spirit.

Have you experienced a very long day at work and you felt very tired and stressed out? And when you turned on the radio you could hear the soothing sounds of the piano. What did you feel? You probably sat down on a chair and closed your eyes. And the next thing you knew, you fell in a deep sleep, forgetting all your worries. This is what instrumental music can do to you.

In addition, listening to instrumental music also carries an optimistic effect on the mind. Particularly, students who listen to 10 minutes of Mozart before taking SAT had higher scores than students who were not exposed to music. Those who listened to light classical music for 90 minutes while editing the manuscript increased accuracy by 21 percent.” Listening to instrumental music is recommended for all ages, even schoolchildren have claimed that they received, because listening to music stimulates the mind, the ability of abstract reasoning and cognitive development.

Of course, you will desire to listen to numerous sorts of instrumental songs depending upon what whether or not you desire to market physical, mental or psychological health. For instance, to stimulate the thoughts you would choose a composition that fees you up–music that is moderately quickly with considerable frequencies. An illustration will be Mozart’s violin concertos. To elevate your mood, you can listen to a piece of music of the blues guitar instrumental that has access to our emotions and stimulate your imagination, you can touch your subconscious, stimulating the body to upbeat instrumental music to stimulate the creation, right brain. A perfect example of this work would be the jazz saxophonist John Coltrane.

Listening to instrumental music can do a lot of wonders. You will be surprised at how music can influence or change your life. So go ahead and experience the magic of listening to pure instrumental music.

Body Art

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We are everything face and body art. From face painting, body painting, airbrush makeup, temporary tattoos, to the actual supplies needed to transform bodies into works of art. We will be your guide into the world of face and body art. All our articles are from professional face and body artists willing to share their knowledge with you and further your development of this art. From work techniques, news of events happening around the world, to handling rowdy kids, or tips and tricks on expanding your business; The Faba Blog is your number one source for the best news and insight of the face and body art industry. [Read more]

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This blog is for Coulsdon College Visual Arts Students. It is a forward thinking place which aims to provide it’s students with an environment in which they can grow creatively and intellectually. The blog is updated regularly by teachers from the Visual Arts department with posts about inspirational artists/ designers, tutorials, upcoming exhibitions and student work.

Coulsdon College offers a range of Visual Art courses; A Level Graphic Communication, Textiles, Fine Art and Photography, BTEC National Level 3 Art and Design, BTEC Level 2 Art and Design, NCFE Life Drawing and NCFE Photography. [Read more]

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The most important consideration in approaching any gallery you think might be a good match for your art is to take your time. Don’t be in a rush. About the worst thing you can do is show your art to a gallery without having any idea who they are, what their history is, what they stand for, what type of art or artists they represent, what their politics are, or anything else. If you want to stand any chance of succeeding at getting a gallery to give you a show, represent your art or even pay attention to you, you have to get your knowledge base up to speed, and once you’re there, script and fine-tune an effective presentation that’s customized to whomever it is you’re approaching. Never ever present yourself out of the clear blue as a total stranger to a gallery you barely even know and ask them to look at your art. That tact is a certain loser.

You have to view the process of targeting and presenting your art to a particular gallery as a significant investment in your future as an artist and realize that developing an effective approach takes time. Going in with attitudes like, “How soon can I get my art in front of these people” or “If they don’t like my work, I’ll just go to the gallery next door and show it to them” or “You’re a gallery, you have walls, I’m an artist, I have art ” is just plain irresponsible and lazy. If you don’t invest any time in them, why should they do the same for you? The goal of any such presentation is to demonstrate your knowledge about why you’ve specifically identified this particular gallery, and why they should consider your art.

To begin with, get on the gallery’s mailing or email announcement list. This way, you learn how the gallery introduces and positions their artists, what types of art and artists they tend to represent, how they describe their art, how they introduce their upcoming shows, and how they communicate with their client base. Understanding where a gallery’s coming from and their perspective on the art world is critical to making sure your art is a fit with their agenda.

If at all possible, personally visit the gallery. Often you can tell simply from a visit whether a gallery is right for you. If you prefer to be anonymous, go to one of their openings. If you’re OK with being noticed (or would rather be noticed), go during regular business hours. Look at the art, see how it’s labeled, organized and presented, take or read any printed materials they have on hand, and pay attention to other details– layout, offices, library, back rooms, and so on. Whatever you do, play it cool and resist the urge to start talking about yourself and your art. Consider this a fact-finding mission, nothing more. You don’t want to get ahead of yourself.

If after a personal or website visit you still think the gallery may be right for your art, continue visiting at least once per show over a period of perhaps three to six months– or three to six shows. If you’re not in a position to physically visit the gallery, visit their website instead and follow the same procedures. If you have questions about the art they’re showing, ask or email, but limit any interactions to that. A better idea is to save making contact for later and simply spend time looking at the art, seeing how they organize it, how they present it, what they write or say about it, how much it costs, and so on. Your primary mission at this point is to gather information.

Now that you’re serious about your commitment, visiting during regular business hours is preferable to showing up only at openings, although if you’re still not comfortable or prefer anonymity, then stick with the openings. The fewer people there are in the gallery while you’re looking around, the greater the chances that personnel will begin to recognize you over time and see that you’re taking an interest in what they show. At some point, a conversation might even break out, but whether or not that happens, the main purpose of these visits remains to increase your understanding of how the gallery operates and presents their art. Equally important, now that you’re a regular, is to constantly be on the lookout for similarities between their art and yours. Be honest with yourself here and really think this through. If you ultimately want to approach a gallery with your art, you’d better have a thorough understanding of what they’re about as well as why your art and your calling as an artist match up with their art, artists, agenda and views.

Additional pointers:

* If you’re younger, less experienced or don’t have that much of a resume, stick with galleries near where you live. You might call this “home field advantage.” Galleries that show artists from other cities or countries generally show those artists because they’ve already made names for themselves where they live and work. You can certainly approach galleries outside of your area, but know going in that geography does make a difference, especially early on.

* Look through a gallery’s website in detail, whether or not you can personally visit their space. Studying the website is required. Review their exhibition calendar, their individual shows, see what kinds of artists they represent, read artist statements and show statements, read about the gallery’s history and, of course, see what their policies and procedures are for accepting submissions. Through all this, continue to solidify and refine your position on how you fit in– and why.

* In addition to reading about a gallery’s artists on their website, go to the individual artists’ websites as well. The more history and background you have on a gallery’s artists, the better prepared you’ll be to argue your case as to why you belong on their roster.

* To repeat, be honest with yourself at all times. Do the artists that the gallery represents make art that’s similar to yours? Do they have resumes comparable to yours? Have you been active as an artist as long as they have? Are they in your age range? Do they tend to live locally or are they more national or international? Are you alike (or different) in other ways?

* Is the gallery’s price range similar to the price range that your art sells in (meaning not what you price it at, but how much it actually sells for)? Most galleries sell art within consistent and set price ranges, say $2000-$5000 or $10000-$30000, and tend not to deviate from those ranges. So you want to be reasonably sure you can make a case, hopefully based on your resume and past sales, that your art is a fit pricewise.

* You might even think about offering to work at the gallery, even on a volunteer basis, assuming you really like and respect what they do. That’s a great way to get to know them better– and to make some general headway in the local art community as well. Maybe offer to help hang shows, do basic office work, or pour wine at their openings. Willingness to get involved like this demonstrates your commitment to what the gallery stands for. Galleries like artists who are serious about participating. No need to press the issue though. Simply put yourself out there, and if they want you, they’ll ask.

The payback of the slow, deliberate and comprehensive approach is that the more time you spend getting to know a gallery, the more certain you are about how and why your art fits with their agenda, the more comfortable you feel around them, and the better prepared and more confident you’ll be when the time comes to finally make contact. Whether or not you ultimately end up showing your art the gallery, you can be sure you’ll make an impression– perhaps even enough so for them to suggest or refer you to a different gallery if you’re not quite right for them, or ask you to come back in six months or a year. No matter how you look at it, the experience will be invaluable in terms of learning how to effectively present yourself as an artist.


Welcome to the Artistic Blog we are glad you stopped by.

What is The Artistic Blog all about? Most websites and pages want you to come to their page and stay, we want you to leave. Not that we don’t like our fans but we want to serve as a hub to the art world. We want our fans to come here to explore what is going on in the broader art world. With that in mind we encourage all of you not only to share your work but share with us the works of others along with web pages, Facebook pages and other sources of art that you have found interesting and useful to you.

The Artistic Blog is a collaborative web site driven and maintained by its users. Since users are encouraged to express their art through a variety of media formats we have provided its members with tools to post untraditional blogs using embedded text, image, video and audio formats. This gives the users the ability to give life to their creativity through writing, photography, the spoken word, music, film or any combination thereof. [Read more]

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Hi! I’m Stephanie – an artist/illustrator originally from Memphis, Tennessee, USA, now based in Berlin, Germany. I studied art at the University of Tennesee in Knoxville, and the University of the Arts in Berlin, Germany. I love to travel, make art, and interview other artists and creative people. For 16 years, I’ve been living abroad in Germany. Discovering new places abroad continues to inspire me, and I’m happy to share my favorite spots in Europe with you.

On my blog, I post news about my current projects, workshops, and e-courses, artist interviews, and studio sneak peeks of my work in progress. My photography, writing, and illustrations have been published in Artful Blogging magazine, Seasons Magazine in Moscow, the new Master’s Collage book published by Lark Books, The Big Book of Contemporary Illustration, and Sarah Ahearn’s Painted Pages. [Read more]


teach, school, class

1) Give each child in your class a copy of the storyboard sheet found here.

2) Ask them to make up a story about anything that they want.

3) Ask them to draw the events of the story in the larger boxes in the sheet. The smaller boxes are for text, but they should not fill these in at the moment.

4) When the children have finished their drawings, collect in the storyboards, mix them up, and give them back (but not to the correct children). Now, each child should be looking at a storyboard which is not their own.

5) They should now look carefully at the pictures, and make up some text to go with them.