Dvd Movie Blog Tymesnet

Posts Tagged ‘art’

I want to go into a little more detail of the different ways you can approach the enigmatic task of producing an abstract. In this article we will look at the Anarchist and the Abstractist.

If you have an anarchistic attitude within you then abstract art is for you. You will never run out of ideas - in fact even if you had NO ideas then your temperament alone would find a most fundermental mood swing or dark (and maybe on more rarer occasions - light) moment to enrap you within its aggressive drama and painful colours. Willem de Kooning’s “Gotham News” is a good example of anarchistic abstraction - just look at this picture - .albrightknox.org/ArtStart/sKooning.html. Wild movement mixed with such vigorous aggression.

Anarchists tend to be wildly demonstrative in their approach to … everything! They have the potential to be able to utilize almost anything at hand that might provide them with contradictory ideas and totally original materials.

However, there is a big “down” side to what might be seen as the almost perfect abstract artist. An Anarchistic attitude tends to come from a tremendous sense of lacking in many areas. So things like confidence can be a very fearful barrier to the power of a creative flow. Therefore I believe that by working on some of the practical ideas written below obstacles like shyness and fear can slowly be weakened until finally the real artist begins to rise out from the depths of darkness or light in an increasingly “louder” manner.

The Abstractist is in many ways similar to the Anarchist. The difference here is that the Abstractist mind has a colder capability of “seeing” completely non-representative imaginings. And although both the Abstractist and the Anarchist generally produce work from deep within. The Anarchist cultivates a more physical “anti” approach, whereas the Abstractist appears to have the knack of actually visualizing dots, lines, and shapes when looking at every day objects.

Notice the similarities between de Kooning’s “Gotham News” and Peter Lanyan’s “Wreck” - .ablot.com/wreck.htm Then take another look and seek to find any differences. “Wreck” is very anarchistic, but there are at least two variants. First the colours of “Wreck” give off an almost tangible “landscape” feel. And secondly, Lanyan seems to have made decisions when placing of lines and shapes. This is a classical abstract attitude. Another fine Abstractist example would be Howard Hodgkin.

OK lets practice. Get yourself a large piece of paper - any paper … even newspaper will do. You will need plenty of Red, Blue, and Yellow (remember the practicals in Part I) acrylics or cheap powder paints will be fine. A one fairly thin paint brush, and one fairly thick. With the first attempt do not “think” of anything other then lines. Place the paints in easy reach for you to work quickly. Ready? Thin brush first - dip it deep into any colour then quickly bring the brush into contact with the paper - do not stop moving. Move in any direction. Paint faster. Paint one continual line. As soon as the brush starts to run dry dip it into paint - any of the colours. Keep doing this until you have filled the paper with a mass of scribbles. Try this about five or six times - not caring what is produced (you can throw it away - no one needs to see it … or you might want to frame it!).

Now repeat the above practical only this time try using what is sometimes called “short stroke” - which is precisely that. Rather than one continual line, produce lots of short lines - you decide on the length. But make sure you are still acting as though it is one continual line - you are just lifting the brush at the appropriate time. Repeat this a few times.

Next decide which you felt more at home with. Produce another image in that way only this time look for shapes. When you see one, load your brush and paint the outline of the shape - very quickly. Finally get the thick brush and load it with a colour and roughly fill in the shape. Carry on mark making - even if it runs over any painted shapes.

Finally try again with line and shapes, and this time adding something else - you decide. If you really cannot think of anything try choosing any of the following: Screwing up the whole paper, then unfolding it and carrying on painting; rip or cut holes into the paper - and carry on painting; spatter (a well used favourite) paint onto the paper; find rice, spagetti, sand, earth, dust … anything - pour it or sprinkle it - then carry on painting … the list is endless.

Of course you might not be at home with this … too messy you might say. Then, perhaps you might be a Surrealist - or maybe a Visionary … that will be the next article.

I want to go into a little more detail of the different ways you can approach the enigmatic task of producing an abstract. In this article we will look at the Anarchist and the Abstractist.

If you have an anarchistic attitude within you then abstract art is for you. You will never run out of ideas - in fact even if you had NO ideas then your temperament alone would find a most fundermental mood swing or dark (and maybe on more rarer occasions - light) moment to enrap you within its aggressive drama and painful colours. Willem de Kooning’s “Gotham News” is a good example of anarchistic abstraction - just look at this picture - .albrightknox.org/ArtStart/sKooning.html. Wild movement mixed with such vigorous aggression.

Anarchists tend to be wildly demonstrative in their approach to … everything! They have the potential to be able to utilize almost anything at hand that might provide them with contradictory ideas and totally original materials.

However, there is a big “down” side to what might be seen as the almost perfect abstract artist. An Anarchistic attitude tends to come from a tremendous sense of lacking in many areas. So things like confidence can be a very fearful barrier to the power of a creative flow. Therefore I believe that by working on some of the practical ideas written below obstacles like shyness and fear can slowly be weakened until finally the real artist begins to rise out from the depths of darkness or light in an increasingly “louder” manner.

The Abstractist is in many ways similar to the Anarchist. The difference here is that the Abstractist mind has a colder capability of “seeing” completely non-representative imaginings. And although both the Abstractist and the Anarchist generally produce work from deep within. The Anarchist cultivates a more physical “anti” approach, whereas the Abstractist appears to have the knack of actually visualizing dots, lines, and shapes when looking at every day objects.

Notice the similarities between de Kooning’s “Gotham News” and Peter Lanyan’s “Wreck” - .ablot.com/wreck.htm Then take another look and seek to find any differences. “Wreck” is very anarchistic, but there are at least two variants. First the colours of “Wreck” give off an almost tangible “landscape” feel. And secondly, Lanyan seems to have made decisions when placing of lines and shapes. This is a classical abstract attitude. Another fine Abstractist example would be Howard Hodgkin.

OK lets practice. Get yourself a large piece of paper - any paper … even newspaper will do. You will need plenty of Red, Blue, and Yellow (remember the practicals in Part I) acrylics or cheap powder paints will be fine. A one fairly thin paint brush, and one fairly thick. With the first attempt do not “think” of anything other then lines. Place the paints in easy reach for you to work quickly. Ready? Thin brush first - dip it deep into any colour then quickly bring the brush into contact with the paper - do not stop moving. Move in any direction. Paint faster. Paint one continual line. As soon as the brush starts to run dry dip it into paint - any of the colours. Keep doing this until you have filled the paper with a mass of scribbles. Try this about five or six times - not caring what is produced (you can throw it away - no one needs to see it … or you might want to frame it!).

Now repeat the above practical only this time try using what is sometimes called “short stroke” - which is precisely that. Rather than one continual line, produce lots of short lines - you decide on the length. But make sure you are still acting as though it is one continual line - you are just lifting the brush at the appropriate time. Repeat this a few times.

Next decide which you felt more at home with. Produce another image in that way only this time look for shapes. When you see one, load your brush and paint the outline of the shape - very quickly. Finally get the thick brush and load it with a colour and roughly fill in the shape. Carry on mark making - even if it runs over any painted shapes.

Finally try again with line and shapes, and this time adding something else - you decide. If you really cannot think of anything try choosing any of the following: Screwing up the whole paper, then unfolding it and carrying on painting; rip or cut holes into the paper - and carry on painting; spatter (a well used favourite) paint onto the paper; find rice, spagetti, sand, earth, dust … anything - pour it or sprinkle it - then carry on painting … the list is endless.

Of course you might not be at home with this … too messy you might say. Then, perhaps you might be a Surrealist - or maybe a Visionary … that will be the next article.

I want to go into a little more detail of the different ways you can approach the enigmatic task of producing an abstract. In this article we will look at the Anarchist and the Abstractist.

If you have an anarchistic attitude within you then abstract art is for you. You will never run out of ideas - in fact even if you had NO ideas then your temperament alone would find a most fundermental mood swing or dark (and maybe on more rarer occasions - light) moment to enrap you within its aggressive drama and painful colours. Willem de Kooning’s “Gotham News” is a good example of anarchistic abstraction - just look at this picture - .albrightknox.org/ArtStart/sKooning.html. Wild movement mixed with such vigorous aggression.

Anarchists tend to be wildly demonstrative in their approach to … everything! They have the potential to be able to utilize almost anything at hand that might provide them with contradictory ideas and totally original materials.

However, there is a big “down” side to what might be seen as the almost perfect abstract artist. An Anarchistic attitude tends to come from a tremendous sense of lacking in many areas. So things like confidence can be a very fearful barrier to the power of a creative flow. Therefore I believe that by working on some of the practical ideas written below obstacles like shyness and fear can slowly be weakened until finally the real artist begins to rise out from the depths of darkness or light in an increasingly “louder” manner.

The Abstractist is in many ways similar to the Anarchist. The difference here is that the Abstractist mind has a colder capability of “seeing” completely non-representative imaginings. And although both the Abstractist and the Anarchist generally produce work from deep within. The Anarchist cultivates a more physical “anti” approach, whereas the Abstractist appears to have the knack of actually visualizing dots, lines, and shapes when looking at every day objects.

Notice the similarities between de Kooning’s “Gotham News” and Peter Lanyan’s “Wreck” - .ablot.com/wreck.htm Then take another look and seek to find any differences. “Wreck” is very anarchistic, but there are at least two variants. First the colours of “Wreck” give off an almost tangible “landscape” feel. And secondly, Lanyan seems to have made decisions when placing of lines and shapes. This is a classical abstract attitude. Another fine Abstractist example would be Howard Hodgkin.

OK lets practice. Get yourself a large piece of paper - any paper … even newspaper will do. You will need plenty of Red, Blue, and Yellow (remember the practicals in Part I) acrylics or cheap powder paints will be fine. A one fairly thin paint brush, and one fairly thick. With the first attempt do not “think” of anything other then lines. Place the paints in easy reach for you to work quickly. Ready? Thin brush first - dip it deep into any colour then quickly bring the brush into contact with the paper - do not stop moving. Move in any direction. Paint faster. Paint one continual line. As soon as the brush starts to run dry dip it into paint - any of the colours. Keep doing this until you have filled the paper with a mass of scribbles. Try this about five or six times - not caring what is produced (you can throw it away - no one needs to see it … or you might want to frame it!).

Now repeat the above practical only this time try using what is sometimes called “short stroke” - which is precisely that. Rather than one continual line, produce lots of short lines - you decide on the length. But make sure you are still acting as though it is one continual line - you are just lifting the brush at the appropriate time. Repeat this a few times.

Next decide which you felt more at home with. Produce another image in that way only this time look for shapes. When you see one, load your brush and paint the outline of the shape - very quickly. Finally get the thick brush and load it with a colour and roughly fill in the shape. Carry on mark making - even if it runs over any painted shapes.

Finally try again with line and shapes, and this time adding something else - you decide. If you really cannot think of anything try choosing any of the following: Screwing up the whole paper, then unfolding it and carrying on painting; rip or cut holes into the paper - and carry on painting; spatter (a well used favourite) paint onto the paper; find rice, spagetti, sand, earth, dust … anything - pour it or sprinkle it - then carry on painting … the list is endless.

Of course you might not be at home with this … too messy you might say. Then, perhaps you might be a Surrealist - or maybe a Visionary … that will be the next article.

A very recent technology allows for artists’ original paintings to be replicated on canvas. Prior to this an artist who painted an original work on canvas would have to have a reproduction made on paper. Unlike a paper reproduction, one printed on canvas can be displayed without glass and matting, and also looks like an original.

There are two main ways that person can produce canvas prints. They are by canvas transferring and printing directly on the canvas. Both can produce high-quality results, and can be made to look as close to the original as possible.

When it comes to reproducing an artist’s original canvas art prints, it is obvious that the reproduction should look as much like the original as possible. By using several techniques, it makes it easy to produce canvas art prints that look just as good as the original.

Transferring to make canvas art prints is the most common of the two techniques. It begins with a standard, offset paper print that is made in the traditional way from the original. The print is then coated with a series of special chemicals that are designed to allow the paper and the ink to separate from each other. That means when the paper is removed, the ink remains.

The canvass is then prepped with adhesive, and the film is carefully laid on it. Pressure is applied to bond the film to the canvas, which is then set aside to dry. The result is a beautiful canvas art print that looks very much like the original.

Printing directly on the canvas to produce canvas art prints is the second most commonly used method.

Other methods used consist of direct offset printing, where a piece of canvas is run through an offset press; Repligraphy, where a hot-melt color dye printing system is used to create an oil-based film that adheres to the canvas; and Artagraphs, which features a mold of both the artist’s original brushstrokes and textures.

How can you tell if a piece of art is the original or a canvas art print reproduction? Although it may seem hard, there are clues that someone can use to tell what is real and what is a copy.

The first is to look for limited edition print numbers, which are normally found at the bottom of the work in xx/yy format. When producing canvas art prints, a reproduction often leaves this out.

Canvas art prints are usually completely flat or have small applications of hand-applied paint that is referred to as highlight. If the canvas art print is flat to the touch, then it’s probably a reproduction. Originals mostly include areas of texture.

Highlights can be obvious to see. A hightlight can be simply a small dab of paint, which is quite different from an artist’s actual brushstroke.

Other options include using a high-powered microscope to look for standard dot patterns and/or calling a gallery to see if they have someone who can identify your canvas art print as an original or a reproduction.

A very recent technology allows for artists’ original paintings to be replicated on canvas. Prior to this an artist who painted an original work on canvas would have to have a reproduction made on paper. Unlike a paper reproduction, one printed on canvas can be displayed without glass and matting, and also looks like an original.

There are two main ways that person can produce canvas prints. They are by canvas transferring and printing directly on the canvas. Both can produce high-quality results, and can be made to look as close to the original as possible.

When it comes to reproducing an artist’s original canvas art prints, it is obvious that the reproduction should look as much like the original as possible. By using several techniques, it makes it easy to produce canvas art prints that look just as good as the original.

Transferring to make canvas art prints is the most common of the two techniques. It begins with a standard, offset paper print that is made in the traditional way from the original. The print is then coated with a series of special chemicals that are designed to allow the paper and the ink to separate from each other. That means when the paper is removed, the ink remains.

The canvass is then prepped with adhesive, and the film is carefully laid on it. Pressure is applied to bond the film to the canvas, which is then set aside to dry. The result is a beautiful canvas art print that looks very much like the original.

Printing directly on the canvas to produce canvas art prints is the second most commonly used method.

Other methods used consist of direct offset printing, where a piece of canvas is run through an offset press; Repligraphy, where a hot-melt color dye printing system is used to create an oil-based film that adheres to the canvas; and Artagraphs, which features a mold of both the artist’s original brushstrokes and textures.

How can you tell if a piece of art is the original or a canvas art print reproduction? Although it may seem hard, there are clues that someone can use to tell what is real and what is a copy.

The first is to look for limited edition print numbers, which are normally found at the bottom of the work in xx/yy format. When producing canvas art prints, a reproduction often leaves this out.

Canvas art prints are usually completely flat or have small applications of hand-applied paint that is referred to as highlight. If the canvas art print is flat to the touch, then it’s probably a reproduction. Originals mostly include areas of texture.

Highlights can be obvious to see. A hightlight can be simply a small dab of paint, which is quite different from an artist’s actual brushstroke.

Other options include using a high-powered microscope to look for standard dot patterns and/or calling a gallery to see if they have someone who can identify your canvas art print as an original or a reproduction.

A very recent technology allows for artists’ original paintings to be replicated on canvas. Prior to this an artist who painted an original work on canvas would have to have a reproduction made on paper. Unlike a paper reproduction, one printed on canvas can be displayed without glass and matting, and also looks like an original.

There are two main ways that person can produce canvas prints. They are by canvas transferring and printing directly on the canvas. Both can produce high-quality results, and can be made to look as close to the original as possible.

When it comes to reproducing an artist’s original canvas art prints, it is obvious that the reproduction should look as much like the original as possible. By using several techniques, it makes it easy to produce canvas art prints that look just as good as the original.

Transferring to make canvas art prints is the most common of the two techniques. It begins with a standard, offset paper print that is made in the traditional way from the original. The print is then coated with a series of special chemicals that are designed to allow the paper and the ink to separate from each other. That means when the paper is removed, the ink remains.

The canvass is then prepped with adhesive, and the film is carefully laid on it. Pressure is applied to bond the film to the canvas, which is then set aside to dry. The result is a beautiful canvas art print that looks very much like the original.

Printing directly on the canvas to produce canvas art prints is the second most commonly used method.

Other methods used consist of direct offset printing, where a piece of canvas is run through an offset press; Repligraphy, where a hot-melt color dye printing system is used to create an oil-based film that adheres to the canvas; and Artagraphs, which features a mold of both the artist’s original brushstrokes and textures.

How can you tell if a piece of art is the original or a canvas art print reproduction? Although it may seem hard, there are clues that someone can use to tell what is real and what is a copy.

The first is to look for limited edition print numbers, which are normally found at the bottom of the work in xx/yy format. When producing canvas art prints, a reproduction often leaves this out.

Canvas art prints are usually completely flat or have small applications of hand-applied paint that is referred to as highlight. If the canvas art print is flat to the touch, then it’s probably a reproduction. Originals mostly include areas of texture.

Highlights can be obvious to see. A hightlight can be simply a small dab of paint, which is quite different from an artist’s actual brushstroke.

Other options include using a high-powered microscope to look for standard dot patterns and/or calling a gallery to see if they have someone who can identify your canvas art print as an original or a reproduction.

Shakira Isabel Mebarak Ripoll naci

Shakira Isabel Mebarak Ripoll naci

Shakira Isabel Mebarak Ripoll naci

The Perfect Holiday is seasonably pablum partially redeemed by a smart (if wasted) cast and at least one unusual holiday bit. Directed by co-written by Lance (The Cookout) Rivera, the film mostly flounders through contrived meet-cute scenes and some “what were they thinking” scenes (such as one involving a 300-pound “elf” trying to put on a fat suit). The romantic/family comedy also demands a major suspension of disbelief in having the lovely Gabrielle Union portraying a woman (Nancy) who wishes a nice man would pay her a compliment.

Union plays the ex-wife of an obnoxious rapper, J. Jizzy (Charlie Murphy&ndashEddie’s older brother&ndashwho gets the most laughs in the film). The divorcee’s kid helps steer her to a handsome department-store Santa named Benjamin (Morris Chestnut) who also happens to be a songwriter. What’s more, he’s pitching his tunes to J. Jizzy. Much of the film involves Benjamin trying to keep Nancy and Jizzy from finding out about his romantic and business (respectively) arrangements with each of them. The problem is that there’s no logical reason why he should care&ndashor lie to Nancy about his “true” vocation.

Much of the movie involves Nancy discussing life with her gals pals (Jill Marie Jones and Rachel True), Benjamin chumming around with his best bud, Jamal (Faizon Love); and J-Jizzy interacting with his spacey manager, Delicious (Katt Williams). This offers scenes of soul searching, self revelations and some strained comedy&ndashbut little of it is interesting.

There’s also little reason for Queen Latifah and Terrence Howard (who seems to have appeared in 95 percent of the films released in 2007) playing competing angels (or perhaps that’s angel vs. devil). Latifah breezes through her role, but Howard just seems embarrassed to be here (and who can blame him?).

One of the brightest parts of The Perfect Holiday is one of its most understated: a department store hires a black Santa and black elf helper, kids of all colors line up to visit Ol’ Saint Nick and no one questions it. It’s a sweet, hopeful set-up that offers a counterpoint to the otherwise pedestrian, plodding antics of The Perfect Holiday.

The Perfect Holiday is rated PG for brief language and some suggestive humor. Running time: 96 minutes. Macsimum rating: 4 out of 10. You can check out the film’s trailers on the QuickTime movie trailer site.