Based on the popular international collaborative art project, Julia Kay's Portrait Party, this book features hundreds of portraits in multiple mediums and styles teamed with tips and insights on the artistic process. The human face is one of the most important subjects for artists, no matter their chosen medium. Pulling from 50,000 works of portraiture created by the artists of the international online collaborative project Julia Kay’s Portrait Party, Portrait Revolution presents a new look at this topic—one that doesn’t limit itself to one medium, one style, one technique, or one artist. By presenting portraits in pencil, pen, charcoal, oils, watercolors, acrylics, pastels, mixed media, digital media, collage, and more, Julia Kay and co. demonstrate the limitless possibilities available to aspiring artists or even to professional artists who are looking to expand creatively. Along with works in almost every conceivable medium, Portrait Revolution shines a spotlight on different portrait-making techniques and styles (featuring everything from realism to abstraction). With tips, insights, and recommendations from accomplished portrait artists from around the globe, this all-in-one inspiration resource provides everything you’ll need to kick-start your own portrait-making adventure.
The painting, faux painting, and mural business is one of the most lucrative small business opportunities around, with more than $100 billion spent annually according to the International Franchise Association. The need for skilled, qualified painters for everything from the family home to other businesses or the side of a new building has made those with the right skill set highly sought after. For anyone seeking to start their own painting or mural painting business, it is only a matter of knowing where and how to get started and what is needed by them to both open a business and be financially successful in running it. This book was written with all of those expert painters in mind, ensuring that everyone who has ever been interested in starting their own painting business gets every possible resource they need to successfully run that business. You will learn what the basics of the career entail and how to go about running your business. You will learn the fundamentals of what equipment you will need and how to go about acquiring it for a decent rate. Learn how to find partners to help you or hire employees. Also learn the basics of your record keeping and how you will keep track of your finances. Additionally, you will learn about how to find and maintain professional contacts and build a portfolio that will help you find new work in the future. You will learn how to meet clients and dress properly and how to scope out the walls at your potential work sites so you can bid and work effectively. You will learn how to bid on a job and get paid for your work and finally how to start painting the walls, including the types of wall surfaces you may have, the paints you might use, how to load up and setup, and how to finalize a project. Dozens of the top faux and mural painters in the nation were contacted and interviewed for this book, their expertise compiled into a series of tips and tricks that will help you both understand how to run a business and be a successful painter. Everything you need to become a faux painter, from the first clients to the expansion of your business is included in this guide; the beginnerâe(tm)s only needed resource. The companion CD-ROM is included with the print version of this book; however is not available for download with the electronic version. It may be obtained separately by contacting Atlantic Publishing Group at sales@atlantic-pub.com Atlantic Publishing is a small, independent publishing company based in Ocala, Florida. Founded over twenty years ago in the company presidentâe(tm)s garage, Atlantic Publishing has grown to become a renowned resource for non-fiction books. Today, over 450 titles are in print covering subjects such as small business, healthy living, management, finance, careers, and real estate. Atlantic Publishing prides itself on producing award winning, high-quality manuals that give readers up-to-date, pertinent information, real-world examples, and case studies with expert advice. Every book has resources, contact information, and web sites of the products or companies discussed.
Japanese Sumi-e brush painting combines the techniques of calligraphy and ink painting to produce compositions of rare beauty. This art has its roots in the Zen Buddhist practices of mindfulness and meditation--serving as a means not just for describing wonders of nature, but as a method for training our minds to view the world in its essential grace and simplicity. This book is the product of many years of study with Ukai Uchiyama--a master Japanese calligrapher and artist. Kay Morrissey Thompson shares the knowledge she gained from this association, presenting a thorough discussion of the artist's work along with a series of practical lessons based on Mr. Uchiyama's instruction. The informative text is accompanied by over fifty illustrations, many in color, reproducing works by Ukai Uchiyama and enabling aspiring artists to understand how each painting was created. With a smaller size and new cover, this timeless Tuttle Classic (originally published in 1960), has been reformatted for a new generation of readers.
Explore the ancient technique of Japanese ink painting. The art of sumi-e, which means "ink picture," combines calligraphy and ink-painting to produce brush painting compositions of rare beauty. This beauty is paradoxical--ancient but modern, simple but sophisticated, bold but subdued--no doubt reflecting the art's spiritual basis in Zen Buddhism. At the same time, sumi-e painting is firmly rooted in the natural world, its various techniques serving as the painter's language for describing the wonders of nature. Buddhist priests brought the ink stick and the bamboo-handled brush to Japan from China in the sixth century, and over the past fourteen centuries, Japan has developed a rich heritage of ink-painting. Today the artistry of sumi-e can be admired in books, reproductions, and museums, but the techniques of the art have been much less accessible. As a result, little information has been available to the inquisitive Western artist attracted to Japanese sumi-e. This book, designed to help remedy that deficiency, is the product of the author's study with her teacher, Ukai Uchiyama, master calligraphist and artist. It contains extensive explanations of technique as well as detailed painting instructions and diagrams.
Growing old doesn't have to be seen as an eventual failure but rather as an important developmental stage of creativity. Offering an absorbing and fresh perspective on aging and crafts, Jon Kay explores how elders choose to tap into their creative and personal potential through making life-story objects. Carving, painting, and rug hooking not only help seniors to cope with the ailments of aging and loneliness but also to achieve greater satisfaction with their lives. Whether revived from childhood memories or inspired by their capacity to connect to others, meaningful memory projects serve as a lens for focusing on, remaking, and sharing the long-ago. These activities often help elders productively fill the hours after they have raised their children, retired from their jobs, and/or lost a loved one. These individuals forge new identities for themselves that do not erase their earlier lives but build on them and new lives that include sharing scenes and stories from their memories.
When Coastal Living Magazine listed Rockport, Texas, among its “Top 10 Coastal Artists’ Colonies” with more well-known art communities such as Carmel-by-the-Sea, California, and Monhegan Island, Maine, many art lovers may have been surprised. But Rockport’s inclusion represented an emerging Texas Gulf Coast aesthetic and regional school of landscape art that many art historians and collectors had discovered. The area’s unique ecosystem, abundance of wildlife and quaint architecture of bait stands and fish houses became a haven for creativity and individuality, beginning in the late forties. Over the years, it became home to influential artists, including the colony founder, Simon Michael, his most famous student, Dalhart Windberg, Jack Cowan, Al Barnes, Herb Booth, and Jesus Moroles. Other prominent artists also came for inspiration, including Buck Schiwetz, Harold Phenix, and Kent Ullberg. Many of the artists were active in early environmental organizations like the Coastal Conservation Association and Ducks Unlimited, working to protect the special habitats. And Steve Russell, a Rockport native, became the legendary mentor and quintessential artist of the colony, inspiring generations of newcomers. In The Story of the Rockport-Fulton Art Colony: How a Coastal Texas Town Became an Art Enclave, Kay Kronke Betz and Vickie Moon Merchant chronicle how this small Texas town, whose economy was based on fishing, shrimping, and tourism, became a major regional center for the visual arts. Generously illustrated throughout with full-color images of boats, bays, and other hallmarks of this artistically rich community, this book is a visual and narrative treat for art lovers, conservationists, and historians alike.
Like the colorful strokes of her brush, love changes the canvas of their lives. Lucas is just a small town writer starting a summer internship at the local paper when Julie blows into town like a cyclone. Legs a mile long, ginger hair that curls delicately to the small of her back and a smile that could generate enough energy to power Carltonville for months on end, she is easily a knockout. Unlike the other girls at the high school, though, she simply is what she is—beautiful, smart, confident and an artist to her core—all facts that cause the girls to hate her and the guys to want her. By some stroke of luck—or so he feels—she is choosing to give Lucas, the quiet writer guy, a chance. It doesn't add up, but Lucas isn't going to dispute it. He just prays to the great God in Heaven that he doesn't screw it up. The writer and the artist—pen and paint. Is this story a masterpiece that will stand the test of time or will it fade with the summer sun?
In this new study of art in fin-de-siècle Hamburg, Carolyn Kay examines the career of the city's art gallery director, Alfred Lichtwark, one of Imperial Germany's most influential museum directors and a renowned cultural critic. A champion of modern art, Lichtwark stirred controversy among the city's bourgeoisie by commissioning contemporary German paintings for the Kunsthalle by secession artists and supporting the formation of an independent art movement in Hamburg influenced by French impressionism. Drawing on an extensive amount of archival research, and combining both historical and art historical approaches, Kay examines Lichtwark's cultural politics, their effect on the Hamburg bourgeoisie, and the subsequent changes to the cultural scene in Hamburg. Kay focuses her study on two modern art scandals in Hamburg and shows that Lichtwark faced strong public resistance in the 1890s, winning significant support from the city's bourgeoisie only after 1900. Lichtwark's struggle to gain acceptance for impressionism highlights conflicts within the city's middle class as to what constituted acceptable styles and subjects of German art, with opposition groups demanding a traditional and 'pure' German culture. The author also considers who within the Hamburg bourgeoisie supported Lichtwark, and why. Kay's local study of the debate over cultural modernism in Imperial Germany makes a significant contribution both to the study of modernism and to the history of German culture.
A “heroic” and “fascinating” biography of John Cage showing how his work, and that of countless American artists, was transformed by Zen Buddhism (The New York Times) Where the Heart Beats is the story of the tremendous changes sweeping through American culture following the Second World War, a time when the arts in America broke away from centuries of tradition and reinvented themselves. Painters converted their canvases into arenas for action and gesture, dancers embraced pure movement over narrative, performance artists staged “happenings” in which anything could happen, poets wrote words determined by chance. In this tumultuous period, a composer of experimental music began a spiritual quest to know himself better. His earnest inquiry touched thousands of lives and created controversies that are ongoing. He devised unique concerts—consisting of notes chosen by chance, randomly tuned radios, and silence—in the service of his absolute conviction that art and life are one inseparable truth, a seamless web of creation divided only by illusory thoughts. What empowered John Cage to compose his incredible music—and what allowed him to inspire tremendous transformations in the lives of his fellow artists—was Cage’s improbable conversion to Zen Buddhism. This is the story of how Zen saved Cage from himself. Where the Heart Beats is the first book to address the phenomenal importance of Zen Buddhism to John Cage’s life and to the artistic avant-garde of the 1950s and 1960s. Zen’s power to transform Cage’s troubled mind—by showing him his own enlightened nature—liberated Cage from an acute personal crisis that threatened everything he most deeply cared abouthis life, his music, and his relationship with his life partner, Merce Cunningham. Caught in a society that rejected his art, his politics, and his sexual orientation, Cage was transformed by Zen from an overlooked and marginal musician into the absolute epicenter of the avant-garde. Using Cage’s life as a starting point, Where the Heart Beats looks beyond to the individuals Cage influenced and the art he inspired. His creative genius touched Robert Rauschenberg, Jasper Johns, Andy Warhol, Yoko Ono, Alan Kaprow, Morton Feldman, and Leo Castelli, who all went on to revolutionize their respective disciplines. As Cage’s story progresses, as his collaborators’ trajectories unfurl, Where the Heart Beats shows the blossoming of Zen in the very heart of American culture.
This text examines the emergence of the Romantic concept of the landscape genius, arguing that it was a category produced by the critics, painters and the public, in opposition to other ways of thinking about the artist in the period around 1800.
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