Self Grooming Tips For Women
It is not just your face that speaks for you, it is your body language and how you carry yourself. A lady may appear very attractive until she sits in a weird manner, or say some illicit stuff that damages the look you perceived about her. Personal grooming, especially for Seattle models, is quite necessary as they are to represent their homeland. There are many Seattle modeling schools that not only educate you to walk on the ramp but also give you proper personal grooming lessons that will make you an impressive person as a whole.
Personal grooming for women is equally important as it is to men. How to sit, how to speak, when to speak, what to speak, may all seem basics, but hold a lot of importance especially when you are stepping in the professional world.
• The primary thing is to look clean. This is the basic step of your grooming. Have your nails neatly manicured. Avoid wearing showy nail colors that are too bright or catchy. Keep your ears and body clean.
• Wear a perfume but do not spill the whole bottle over you. Too much of a perfume may be annoying to the people around you. Also, you must take care not to wear heavily scented products when you are in a business meeting.
• Makeup should be simple and light for formal workplaces. However, no makeup will also be considered as an unethical act. Wear makeup that is not too little and neither too heavy. Do not wear too much lipstick that it spreads on the napkin or the glass when you take a sip of water.
• You must also not wear a lot of jewelry. Jewelry that is noisy and too large would annoy people around a serious discussion. Wear simple jewelry and avoid dangling earrings, large bracelets etc.
• Your hairstyle must also be simple. A showy dye will never do! Hair dyes that are nearer to natural hair colors work best. Avoid blue, bubble pink etc. When you are at work, tie your hair and move them away from your face.
• Normally when you are at work, you need to dress up appropriately. It is unethical at a workplace to show your cleavage, back or stomach. At work, with corporate people around, you should dress up rather conservatively.
• Self grooming also involves how you eat. Dining manners lay a great impact on people around you about how educated you are. Put the napkin on your lap instead of your collar. Make minimum noise with the utensils while you are eating.
• As for shoes, heels work best. They give you a chic and a complete lady-like look. However, you must first know how to walk in high heeled shoes. First practice walking in high heeled shoes around the house.
• Lastly, you need to keep a few basics in your consideration. Use a mouthwash or see a dentist if you have a bad breath. Do not eat a lot at dinner or lunch parties even if you have a huge diet. Make use of the basic courtesy words, 'sorry', 'thank you' and 'please'.
Self Grooming Tips For Women
Free Photography Lessons, Part 1: Introduction
Video Clips. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
The Secret of Oil Painting - Learn How to Make Good Pictures Or How to Make Good Paintings Better
Technique is not the secret of painting. It's not using tissues, toothbrushes, sponges, palette knives, cotton swabs or razor blades along with your artist paint brushes. Nor is it about "put a little blue here." All of these have a place in our bag of drawing and painting tricks ... but the real secret of picture making is composition.
Underlying all works of art (at all levels from good amateur level to great pictures) is structure.
On the first day in my English Literature class in my art university, the professor played "Bolero," an orchestral work by Maurice Ravel and asked us what it was. The whole class squirmed and could not come up with an answer. Our professor finally said "it's a crescendo." That was the underlying structure. That was the idea. That was the organizing theme. Aside from Ravel having skills in melody and musicality, he was a composer.
Listeners like what they hear in "Bolero." Some listeners have music training and understand on all levels, including understanding the underlying structure. Untrained listeners like what they hear and while they may not know it they like "Bolero" because it is composed. That's why it is performed over and over in symphony halls. That's why a ballet was created to dance to the gradual increase in volume and intensity up to the thunderous climax that ends "Bolero." My English Professor taught me about composition in art using "Bolero" as an example.
Paintings have underlying principles that organize the elements of the picture in order to bring the eye of the viewer into and around the image in an interesting way and to organize the elements into a cohesive whole.
There are nearly infinite ways to structure a picture. Some are obvious, like a mother arching over and protecting a resting or sleeping horizontal child. Another obvious composition is the opposing angles of two fighters in a boxing match.
Some of the principles of composition:
o Beauty is organized variety.
o Variety equals interest.
o A picture needs a dominant element, a sub-dominant element and subordinate elements organized into interesting relationships. This creates order for the viewer so that you, the painter, can entertain the eye of the viewer with a varied and therefore interesting picture order.
o The dominant element can be made dominant by a somewhat central position, by size dominance or interest dominance, and through the complexity of the dominant element or its psychological dominance. For instance, the eye of a viewer is drawn to a human face.
o Those elements need to be varied in size and shape for maximum interest.
o The viewer needs to have a path to those elements that is interesting.
o Thumbnails ... small sketches ... can organize your picture before you get into the details.
o The negative areas (spaces between objects) are as important as the objects.
o The center of the picture is the most powerful ... not the exact center ... but the area around the center is where your dominant element gains strength.
o Tension between two elements adds interest (like the opposition thrust of the fighters mentioned above).
o Division horizontally suggests peacefulness.
o Those divisions should not be equal as that would create a boring picture.
o In a painting of a sky, mountain range and valley let's say you want the sky to dominate. You would make the sky ½ the height of the canvas (3/6ths). But a linear (3-2-1) stacking would be boring. 3-1-2 is more interesting. So sky 3, mountain range 1 and foreground valley 2.
Art courses, classes, videos and TV shows that teach technique but don't address composition miss the key to making good pictures.
To be sure, an understanding of technique, color theory, form, drawing, perspective and proportion need to be studied and developed but they should serve on an underlying structure.
Composition is the secret of painting.
The Secret of Oil Painting - Learn How to Make Good Pictures Or How to Make Good Paintings Better
Free Photography Lessons, Part 1: Introduction
Video Clips. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
Painting Light
HOW TO PAINT LIGHT
I teach students how to paint and draw light. I am also a lighting specialist. My fascination with light encompasses, not only the commercial, retailing aspect, but the artistic as well. Once drawing and painting skills are developed to the point where students can accurately put down what they see, creating light and shadow is studied and faithfully delineated subject matter emerges in a world of space and volume.
LEARNING TO SEE
Basically, the depiction of light and shadow is accomplished by using dark and light colors in painting and tonal gradations in drawing. For a beginning student this often requires some visual skills.. First, I tell the student it is necessary to convert what they see to a two-dimensional vision that they can translate to a two-dimensional surface like a canvas or a sketchbook page.
POWERFUL GRIDS
Seeing objects two-dimensionally can be done in several ways. The easiest (and most time-tested) is to construct a grid in front of the subject matter--that could be actual objects, a photo or a picture. This can be done most simply by holding a pencil vertically and horizontally against the viewed objects, comparing their shapes to the vertical and horizontal lines of the pencil.
Another time-tested method is to literally construct a grid on plate glass or Plexiglas and place that grid in front of the objects. Now the viewed objects are intersected by many squares (depending on how large or small the squares in the grid are.) Each quadrant (square) of the grid can then be painted or drawn independently and upon completing the entire grid, the composition of objects is finished to compose an accurate picture of the objects.
Light and shadow are more easily discerned and created with this grid method. How objects are illuminated can be defined on paper or canvas by observing and re-creating light and shadow at play in each quadrant. In accomplishing this by shading and highlighting, illumination and therefore, volume is created, the illusion of the three-dimensional space is created, reborn on a two-dimensional surface.
EARLY LINE AND COLOR
Accuracy, as well as light and shadow were not always the motivation behind depicting artful images. Before the Renaissance, art works in Europe depicted objects ( figures, landscapes, buildings) in a flat space. There was no light and shadow. Figures were delineated and colored in a style much like a coloring book. These images translated well to stained glass windows and mosaics. Their simplicity of line and color contributed to the strength of the iconography, often of religious significance.
EARTHLY LIGHT
With the discovery of perspective, space and volume became important to artists as well as the depiction of light and shadow. Symbolic icons and images described by line gave way to depictions of illuminated space. In perspective, objects recede and advance in a two-dimensional space that is totally visually believable. To augment the receding and advancing figures with directional light and shadow completed the believability, creating a world the eye could explore as a simulated, illuminated three-dimensional environment.
GOLD LEAF TO EARTHLY LIGHT
Spiritual light, the vehicle of infinity was often expressed with the use of gold leaf in Medieval altarpieces. The warm, glowing, reflective surface behind religious figures imbued the work with a rich and reassuring statement-the glory of heaven and God's power. A more earthly light replaced gold leaf in the Renaissance. Spiritual figures were bathed in sunlight and swathed in shadow. The light that illuminated the humble shepherds was the same light that shone on Jesus and his followers.
REPEATING HISTORY
It is interesting to me that the journey a beginning drawing or painting student takes often replicates the historical transition from the Medieval use of line and color-in style to the Renaissance application of illuminated space and volume. And, with more advanced students, their journey often continues to repeat the contemporary return to line and color-in, the preference for depicting flat, shallow space and solid color.
I find this reassuring. The art world is wide open, brimming with many styles, images, materials and skills. For today's artist, everything is available, to use towards a creative purpose. All of history as well as the latest technological/digital images are ready to be researched and developed.
Painting Light
Free Photography Lessons, Part 1: Introduction
Video Clips. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
Oil Painting Art Course - Is Using Tracing OK? DaVinci Thought So - 7 Trace and Transfer Ideas
Leonardo DaVinci traced landscapes: DaVinci went outdoors and placed a sheet of glass across two easels and traced landscapes to study perspective. It wasn't cheating; it was part of his lifelong search for science, truth and accuracy in his art. Here, he was studying perspective.
Students ask me if it is proper to trace a photograph: I have a classmate from the art school from which I graduated. He has had a very distinguished painting career all his life. He said: "Anything you do to help you develop a painting is a correct method." Trace: Beginners in learning to paint in oils have trouble relating objects to each other in scale and placement in the picture they are drawing or painting. One solution: trace the photo, magazine or book image you are working from. Is that cheating? I think that is just doing one's job. Transfer the tracing: Artists can trace a photograph, a magazine image or a drawing they have prepared by tracing on a sheet of tracing paper and then transferring their line drawing to a canvas or other drawing or painting surface. Make your own transfer sheet: You can make your own transfer paper by covering a sheet of tracing paper with soft graphite pencil and then wiping the paper with a cotton ball dampened with lighter fluid or isopropyl alcohol (also called rubbing alcohol). The alcohol or lighter fluid dissolves the pencil and makes your tracing paper into a reusable transfer sheet. a. Tape the tracing to the canvas for an oil painting or other surface you want to transfer the image to and then insert a sheet of transfer paper between your tracing and your canvas. b. Saral Paper is a commercial transfer sheet available online from Dick Blick or Mister Art or which sometimes can be found at your local art supply store. c. Draw over the lines on the front of your tracing with a ballpoint pen to transfer the Saral color to the canvas using this tracing-Saral-canvas "sandwich." You could alternatively use powdered graphite like "General's Powdered Graphite" (available from Dick Blick Art Supply online) to cover the transfer sheet. Apply it with chamois, fingers, or cloth or use a brush to apply it as a wash. You may need to rub in more pencil or graphite and/or use the cotton ball again to completely cover the sheet for a second use. Trace and transfer directly: Alternately turn your drawing or photo over and rub the same soft pencil graphite or graphite powder all over the back and use the fluid and cotton ball technique described above in number 4. Make your own transfer sheet to make your drawing or photo directly transferable to the canvas or other draw to make your drawing or photo directly transferable to the canvas or other drawing surface. Pounce Transfer: Muralists and artists have transferred preliminary drawings using "Pounce" to canvases or walls for centuries. First, they prepared a preliminary drawing on paper. They then punctured the lines of the drawing with a "Pounce Wheel" or a sharp point (a needle or the sharp point of a drawing compass) to make tiny holes along each line. Then their punched through drawing is taped in place over the canvas or wall, and a bag of charcoal dust or a "Pounce Pouch" is lightly pounded on the front of the drawing. This pounding pushes charcoal through the holes in the drawing putting tiny dots of charcoal onto the canvas or other drawing or painting surface. These dots replicate the drawing lines as dotted pounce lines on the wall or canvas. You can buy Pounce Wheels, Pounce bags or Charcoal powder from online art stores like Dick Blick or Mister Art or at your local art store.
The bottom line: Like your brushes and oil paints, tracing is a tool that you can use to improve your oil paintings or drawings.
Oil Painting Art Course - Is Using Tracing OK? DaVinci Thought So - 7 Trace and Transfer Ideas
Free Photography Lessons, Part 1: Introduction
Tube. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
Painting Light
HOW TO PAINT LIGHT
I teach students how to paint and draw light. I am also a lighting specialist. My fascination with light encompasses, not only the commercial, retailing aspect, but the artistic as well. Once drawing and painting skills are developed to the point where students can accurately put down what they see, creating light and shadow is studied and faithfully delineated subject matter emerges in a world of space and volume.
LEARNING TO SEE
Basically, the depiction of light and shadow is accomplished by using dark and light colors in painting and tonal gradations in drawing. For a beginning student this often requires some visual skills.. First, I tell the student it is necessary to convert what they see to a two-dimensional vision that they can translate to a two-dimensional surface like a canvas or a sketchbook page.
POWERFUL GRIDS
Seeing objects two-dimensionally can be done in several ways. The easiest (and most time-tested) is to construct a grid in front of the subject matter--that could be actual objects, a photo or a picture. This can be done most simply by holding a pencil vertically and horizontally against the viewed objects, comparing their shapes to the vertical and horizontal lines of the pencil.
Another time-tested method is to literally construct a grid on plate glass or Plexiglas and place that grid in front of the objects. Now the viewed objects are intersected by many squares (depending on how large or small the squares in the grid are.) Each quadrant (square) of the grid can then be painted or drawn independently and upon completing the entire grid, the composition of objects is finished to compose an accurate picture of the objects.
Light and shadow are more easily discerned and created with this grid method. How objects are illuminated can be defined on paper or canvas by observing and re-creating light and shadow at play in each quadrant. In accomplishing this by shading and highlighting, illumination and therefore, volume is created, the illusion of the three-dimensional space is created, reborn on a two-dimensional surface.
EARLY LINE AND COLOR
Accuracy, as well as light and shadow were not always the motivation behind depicting artful images. Before the Renaissance, art works in Europe depicted objects ( figures, landscapes, buildings) in a flat space. There was no light and shadow. Figures were delineated and colored in a style much like a coloring book. These images translated well to stained glass windows and mosaics. Their simplicity of line and color contributed to the strength of the iconography, often of religious significance.
EARTHLY LIGHT
With the discovery of perspective, space and volume became important to artists as well as the depiction of light and shadow. Symbolic icons and images described by line gave way to depictions of illuminated space. In perspective, objects recede and advance in a two-dimensional space that is totally visually believable. To augment the receding and advancing figures with directional light and shadow completed the believability, creating a world the eye could explore as a simulated, illuminated three-dimensional environment.
GOLD LEAF TO EARTHLY LIGHT
Spiritual light, the vehicle of infinity was often expressed with the use of gold leaf in Medieval altarpieces. The warm, glowing, reflective surface behind religious figures imbued the work with a rich and reassuring statement-the glory of heaven and God's power. A more earthly light replaced gold leaf in the Renaissance. Spiritual figures were bathed in sunlight and swathed in shadow. The light that illuminated the humble shepherds was the same light that shone on Jesus and his followers.
REPEATING HISTORY
It is interesting to me that the journey a beginning drawing or painting student takes often replicates the historical transition from the Medieval use of line and color-in style to the Renaissance application of illuminated space and volume. And, with more advanced students, their journey often continues to repeat the contemporary return to line and color-in, the preference for depicting flat, shallow space and solid color.
I find this reassuring. The art world is wide open, brimming with many styles, images, materials and skills. For today's artist, everything is available, to use towards a creative purpose. All of history as well as the latest technological/digital images are ready to be researched and developed.
Painting Light
Free Photography Lessons, Part 1: Introduction
Tube. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
Fashion Design Drawing Lesson 1 - The Dress Form
A good form is the foundation for all succeeding lessons. No matter how pretty a dress or design is, if it is placed on a " dumpy " figure, it will have no style whatever.
In this lesson we first learn how to draw a layout for the form. In the next lesson we dress the same form in a very simple dress.
A form must have good proportion and style. A form leaning forward, or making a bow, as one might express it, is not stylish, neither is one with too large a bust and a tiny waist; nor one with high, square shoulders.
This form is used for dressmaker's sketches, and for any dress to be placed on a lay figure.
When the dress is on the human figure, action comes in play and a complete understanding of these lessons will enable the student to draw the human figure in a variety of positions.
TO DRAW THE FORM
When drawing the dress form place the figure in the center of the paper. This may be done by getting the proportions and measuring to see just where to begin the drawing. Leave a little more margin at the bottom, than at the top.
Draw line 1, which is a very slight horizontal curve up, then lines 2, 3,4, 5, 6 and 7 as marked on the lesson plate. Line 2 is thrown out for the bust, and line 3 is thrown in at the waist, which throws the shoulders back. Lines 4 and 5 cross lines 2 and 3 at the waist, at first curving out for the hips, then curving in to the bottom of the skirt oval. Line 6 (center line of waist) follows line 2, not literally, but taking the general direction, getting straighter as it reaches the waist line. Line 7 (center line of skirt) runs straight down from line 6.
The collar goes into the shoulders three (3) times and is about the same height. The lines of the collar curve down, as does the waist line, but the bottom of the sleeve curves up. In the back view this order is reversed, as is explained in Lesson II. The collar and waist fines curve up, and the bottom of the sleeve curves down.
There are three planes at the waist: the front, and two sides. You observe but little of the far side in a three-quarter view. This is true of the collar also. These three planes on the waist run into each other, forming a graceful curve. The planes on the collar do the same.
To test the accuracy of your form, drop the dotted lines from the center of the near shoulder to the end of the waist line. This line must be vertical or parallel with the edges of your paper. Drop the dotted line from the end of the far shoulder to the other end of the waist line. This line also must be vertical.
Practice this figure, doing it many times. When you feel confident that you understand all that has preceded and can draw Fig. A with snap, take up Fig. B which is the dress form placed on Fig. A.
If you have followed all directions carefully, you will have a good form on which any costume may be placed.
Fashion Design Drawing Lesson 1 - The Dress Form
Free Photography Lessons, Part 1: Introduction
Video Clips. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
Pencil Sketches of Faces
Why is drawing faces such a great challenge for so many artists? We know we have the image in our head, and often times in our hands in the form of a photo, but we just can't capture it on paper with our pencils.
Have that ever happened to you before? You start drawing a face to find that when you're done, it's nowhere near the person that you're trying to draw?
The problem is that all faces are a unique combination of a set of features. When we take these features apart, we see that there are hundred and one different features. We all have different lips, different noses, different eyes, different ears, different hair, and different face shapes.
And when all these different features come together, it makes the task more difficult for the artist to capture the visual resemblance on paper.
Also, we have to take note of the age of the face that we're drawing. If you're drawing babies, the best time to draw them is when their asleep. Because you can't have them moving around when you draw them.
When drawing babies, keep the drawing simple with few lines and only capture the features of the face.
If you're drawing a child, the features are more defined compared to those of a baby. So you'll have to lock in the features with stronger and darker lines. But the skin is still smooth and gentle. Try not to add to many lines to the face of a child.
Teenagers are young adults. You may approach drawing the face of a teenager in the same way as you would approach drawing the face of an adult. The key to drawing a mature face is to capture the essence of the face.
That means capturing the personality of the face. Some people have a confident look. Some have a shy look, and some have a mischievous look and so on. Try to capture that in your drawing.
Finally, remember not to draw all your faces to look like hollywood stars. Human beings do not look like plastic in real life. So keep your drawings realistic by including any details that make your drawing look more human.
Pencil Sketches of Faces
Free Photography Lessons, Part 1: Introduction
Tube. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
Art Projects For School Holiday Fun
With school out and children and parents finally have plenty of time for each other's company, one of the best ideas to bond with your children for some holiday enjoyment are fun art projects. Instead of lounging in front of the television set or spending all day asleep, there are plenty of art projects that you can do around the house and with the family.
Fun art projects for kids create not only closer ties within the family, but also develop essential skills and new perspectives for your children, such as the color skills and hand dexterity of artistic creations, coupled with the new insights that both you and your family can avail of when you begin looking closely at the world for the all the hidden delights of form and color in the world which can be noticed only when looking at the world through the eyes of the artist.
Scrapbooking
One of the best benefits of fun art projects is the large number of options that can be done. Choosing the correct art project begins with an assessment of the skill levels of the members of the family to undergo the art projects. For beginners, one of the basics is arts and crafts projects you can try out is scrapbooking. More than just a way to honor and preserve memories, scrapbooking is an easy do-it-yourself project that requires much creativity.
Because of the growing developments in scrapbooking, such as the creation of the cricut machine, more art options now than ever have been opened up in scrapbooking. It also fosters one of the basic skills in the arts, which is the use of mixed media. Most beginning artists put on horse blinders by focusing too much on a particular type of art medium. But with scrapbooking, you are given the possibility of using elements that are found anywhere from the isles of the local scrapbooking shop, to items from around the house and those found in garage sales that you and the family can look up to on Sunday afternoons during holidays.
Art classes
Much research and development studies have been pouring out in attempts to look for the most intellectually stimulating environments for children. These have resulted in present day knowledge of the effects of, for example, classical music in helping children develops early mental capabilities as early as during the pre-natal stage. Children's development, however, does not stop in the art classes, but instead includes the years during pre-school, and after.
Start your child's intellectual development right with art classes to foster basic skills and new appreciation for the colorful and form-filled world we live in through art classes. More and more parents are discovering that annual summer arts classes are a good habit. You also have the option of advancing your child's skills in a single type of art lesson such as painting lessons that your child can advance in summer after summer, or you can also choose to give your child a taste of everything with new lessons each time school ends and summer begins.
These are just some of the fun art activities for your family on a holiday, but there are many more options available. From basic photography to charcoal drawings, there are almost limitless options to choose from to ensure that you and your family will have home art projects to share together.
Art Projects For School Holiday Fun
Free Photography Lessons, Part 1: Introduction
Tube. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
Painting Light
HOW TO PAINT LIGHT
I teach students how to paint and draw light. I am also a lighting specialist. My fascination with light encompasses, not only the commercial, retailing aspect, but the artistic as well. Once drawing and painting skills are developed to the point where students can accurately put down what they see, creating light and shadow is studied and faithfully delineated subject matter emerges in a world of space and volume.
LEARNING TO SEE
Basically, the depiction of light and shadow is accomplished by using dark and light colors in painting and tonal gradations in drawing. For a beginning student this often requires some visual skills.. First, I tell the student it is necessary to convert what they see to a two-dimensional vision that they can translate to a two-dimensional surface like a canvas or a sketchbook page.
POWERFUL GRIDS
Seeing objects two-dimensionally can be done in several ways. The easiest (and most time-tested) is to construct a grid in front of the subject matter--that could be actual objects, a photo or a picture. This can be done most simply by holding a pencil vertically and horizontally against the viewed objects, comparing their shapes to the vertical and horizontal lines of the pencil.
Another time-tested method is to literally construct a grid on plate glass or Plexiglas and place that grid in front of the objects. Now the viewed objects are intersected by many squares (depending on how large or small the squares in the grid are.) Each quadrant (square) of the grid can then be painted or drawn independently and upon completing the entire grid, the composition of objects is finished to compose an accurate picture of the objects.
Light and shadow are more easily discerned and created with this grid method. How objects are illuminated can be defined on paper or canvas by observing and re-creating light and shadow at play in each quadrant. In accomplishing this by shading and highlighting, illumination and therefore, volume is created, the illusion of the three-dimensional space is created, reborn on a two-dimensional surface.
EARLY LINE AND COLOR
Accuracy, as well as light and shadow were not always the motivation behind depicting artful images. Before the Renaissance, art works in Europe depicted objects ( figures, landscapes, buildings) in a flat space. There was no light and shadow. Figures were delineated and colored in a style much like a coloring book. These images translated well to stained glass windows and mosaics. Their simplicity of line and color contributed to the strength of the iconography, often of religious significance.
EARTHLY LIGHT
With the discovery of perspective, space and volume became important to artists as well as the depiction of light and shadow. Symbolic icons and images described by line gave way to depictions of illuminated space. In perspective, objects recede and advance in a two-dimensional space that is totally visually believable. To augment the receding and advancing figures with directional light and shadow completed the believability, creating a world the eye could explore as a simulated, illuminated three-dimensional environment.
GOLD LEAF TO EARTHLY LIGHT
Spiritual light, the vehicle of infinity was often expressed with the use of gold leaf in Medieval altarpieces. The warm, glowing, reflective surface behind religious figures imbued the work with a rich and reassuring statement-the glory of heaven and God's power. A more earthly light replaced gold leaf in the Renaissance. Spiritual figures were bathed in sunlight and swathed in shadow. The light that illuminated the humble shepherds was the same light that shone on Jesus and his followers.
REPEATING HISTORY
It is interesting to me that the journey a beginning drawing or painting student takes often replicates the historical transition from the Medieval use of line and color-in style to the Renaissance application of illuminated space and volume. And, with more advanced students, their journey often continues to repeat the contemporary return to line and color-in, the preference for depicting flat, shallow space and solid color.
I find this reassuring. The art world is wide open, brimming with many styles, images, materials and skills. For today's artist, everything is available, to use towards a creative purpose. All of history as well as the latest technological/digital images are ready to be researched and developed.
Painting Light
Free Photography Lessons, Part 1: Introduction
Tube. Duration : 6.07 Mins.
Free Photography Lessons, Part 1: Introduction
I gladly offer this basic, 5-part series of photography lessons FOR FREE! Our world has become increasingly visual in the way we communicate. We not only take more pictures, we show them, send them and display them to more eyes than ever before. Wouldn't it be nice to capture and show better pictures? In this series, I get us thinking about... 1. How to tell a story with our photographs by understanding the 4 dimensions associated with the art. 2. The basic elements of "composing" our photographic story. How do we put things in our viewfinders so people get the essence of that moment that inspired us. 3. Understanding exposure, light and color and how they combine to say what we want. 4. How lens choice and operation effects focus and how focus effects what we show in our photos 5. The people in our photographs and the people we are showing them to. Please enjoy these lessons. They're not meant to be comprehensive and their not meant to be exhaustive or advanced. That doesn't mean I don't encourage any questions you might want to post for either me to try to answer or anyone else who comes along. Please, be kind, helpful and enjoy.
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
Free Photography Lessons, Part 1: Introduction
No URL Free Photography Lessons, Part 1: Introduction
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