How to draw step by step learn tips,

Step 1: Start with a circle at the top half of the page. It doesn’t have to be perfect. It’s just a guide for the Minion’s head. If you want a wider-looking Minion like Josh, draw a wider circle or an oval instead.

Step 2: Next, draw two intersecting lines across the circle, one vertical and one horizontal. The bottom part of the vertical line should stick out of the circle. The length of the vertical line will determine the height of the Minion. If you want a taller Minion like Tim, draw the line longer. The end result will look like the crosshairs on a scope. These construction lines will help you place the Minion's facial features later on.

Step 3: Draw two small circles on top of the horizontal line, one on either side of the vertical line. These will be guides for the Minion's eyes. If you want to draw a one-eyed Minion like Stuart, simply draw a bigger circle in the middle.

Step 4: Under the eyes, draw a shape similar to the letter D on its side as a guide for the Minion's mouth. Use the bottom of the main circle to help you place the guide for the mouth.

Step 5: Under the head, draw a big U shape as a guide for the Minion's body. The ends of the U touch the ends of the horizontal construction line.

Step 6: On either side of the body, draw two curved lines as guides for the Minion's hands. The line on the left should point up toward the head, and the other should drop down to the side of the body. Draw a small circle at the end of each line for the Minion's hands. Draw thee small lines coming off of the circle on the left for the fingers.

Step 7: Under the guide for the Minion's body, draw two small shapes that are similar to rectangles without the tops as guides for the pant cuffs. Under each pant cuff, draw a small U-shaped arc as a guide for the Minion's shoes.

Step 8: That’s it for the initial sketch! You have the basic Minion shape. Now go in and tighten your drawing. From this point on, press harder with your pencil in order to get darker lines and a more defined sketch.
Step 9: Darken the circles for the Minion's eyes. Follow the exterior path of the two circles and draw another line to create the thick goggles. The end result will look like a number 8 on its side. On either side of the goggles, draw two little sqaure-like shapes for the goggle straps.


Step 10: Draw a small circle in each eye for the irises. Inside each iris, draw and shade in another circle for the pupil, and then draw a tiny circle on the side to represent glare. Draw a small line on the top and bottom of the goggles for the Minion's upper and lower eyelids.

Step 11: Darken the shape of the mouth and draw a few square-like shapes on upper inside of the Minion's mouth for the big teeth.

Step 12: Use the top part of the main circle as a guide to draw the Minion's head. On top of the head draw a few curved lines to represent the parted hair. You can draw different hair depending on what Minion you're drawing.

Step 13: Draw two long rectangle-like shapes above the guide lines for the arms for the overall straps. Draw a small circle at the end of each for the buttons. Draw the top part of the overalls under the Minion's mouth and inside the U-shaped arc of the body.

Step 14: Draw a shape similar to a square with a rounded bottom in the middle portion of the Minion's overalls for the center pocket. Inside the shape, draw the Gru logo, which consists of a diamond with a G in the middle of it. Use the image above as reference fr the logo. Finish the overalls by drawing the pants portion at the bottom using the small squares as guides.

Step 15: Use the line and circle on the right as guides to draw the Minion's hand. Follow the path of the line and make it thicker to draw the arm. Use the shape of the circle to form the Minion's glove and fist.

Step 16: Draw the arm on the left by using the initial lines as a guides. Follow the basic path of the line and make the shape thicker. Draw the Minion's glove, hand and fingers at the end by thickening up the smaller guide lines.

Step 17: Use the small U-shaped arcs at the bottom as guides to draw the Minion's shoes. Make the sides of the shoes thicker and draw a thick sole at the bottom.

Step 18: That’s it! You now have a nice sketch of a Minion from Despicable Me. You can stop at this quick drawing for a rough, sketchy look, or continue to the step below to go for a more finished look.

Step 19: For a more finished, inked look, carefully draw over the final sketch lines with a pen or marker. Wait for the ink to dry, and then erase your pencil marks. You now have a finished inked drawing of a Minion! You can stop here or go to the final step to complete your Minion drawing in its entirety.

Step 20: For a completely finished Minion drawing, you have to color it. You can use anything you want: markers, color pencils or even crayons! Color the Minion's skin yellow. The goggle straps, gloves, overall buttons and boots are black. The goggles are gray, and the Minion's eyes are brown. His overalls are blue. That’s it! You now have a completed drawing of one of Gru's Minions from Despicable Me.

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So Brilliant

Amazing Modern Zoroastrian Art
~ A Persian Silk carpet woven in Tabriz - IRAN depicting the Mighty Grand Admiral Artemisia - The Lioness
A true legend, Grand Admiral Artemisia the Commander in Chief of the Persian Imperial Navy during the reign of Mighty Xerxes.

* * *
(-magnificent carpet by ostad Shakiba
During the reign of King Xerxes, Artemisia worked her way to the top becoming the first female officer and then raising above all she became the Grand Admiral of the Imperial Persian Navy; when king Xerxes went to war against Greece (480 BC - 479 BC) Artemisia led her powerful ships and helped Xerxes defeat the Greeks in the beginning phases of naval battle of Salamis. The Greeks offered a reward of 10,000 drachmas for capturing Artemisia, but no one succeeded in winning the prize.
Grand Admiral Artemisia is the only woman that Herodotus the Greek Historian has attributed with the virtue of Courage, or "Andreia"; Herodotus even though not a fair historian with regards to the Persians, he still could not resist praising Artemisia and giving her the credit for being a great military mind and a wise warrior! here is what Herodotus had to say:
“ If the other lower officers I shall make no mention, since no necessity is laid on me; but I must speak of a certain leader named Artemisia, whose participation in the war with Greece, not withstanding that she was a woman, moves my special wonder. Her brave spirit and manly daring sent her forth to the war, when no need required her to adventure; The five Triremes (Battle Ships) which she furnished to the Persians were, next to the Sidonian, the most famous ships in the fleet. She also gave Xerxes wiser counsel than any of his other allies, Artemisia was a great asset to Xerxes. “
.. And it is indeed True that the significant role of women in Ancient Iran both horrified and fascinated the other ancient male dominated societies!
Artemisia was a True Lioness a Patriot who loved Iran and fought for Iran. One of the bravest women of all times in the history of Persian Empire and the world..
One of the greatest Military minds of the world.
And the first female high ranking Naval officer ever, in the history of the world.

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Tips And Types Of Pencils

its a variety of widths and sizes, and its is made by many brands and fro shapes. You can buy for sketch and drawing pencils set, with Some of these  sizes coming in a set, a sett or a box of pencils, or you can buy drawing pencils individually to create a set of your own to  fulfil your own needs.

There are many  artists selecting using a common HB pencil to draw lightly an outline, and then filling it in and creating the correct look with a varied supply of pencils . Different pencils can be used to create many shades, definition or texture, 

if you’re drawing a complex image there is no doubt that you will bring many pencils 

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How To Start Painting So Helpfull Tips

How to start painting.
When you start to paint you will waste a lot of time making mistakes but that is ok. You need to learn to use the tools somehow!
Everyone needs to learn to use the tools before you can put the paint exactly where you wish, in the tones you wish, 'tones' because most beginners start painting using the wrong tones and when they realize what is meant by 'tones' they have to start re painting all their favorite scenes. 
Many people have been painting for years and have not realized that a bright red car which is one hundred yards or more away is not red any more but a red tone of grey.
If you can combine this learning of tones with the learning of using the tools, you will progress quickly.
The monochrome painting exercises are great for learning about tones for there we paint pictures in one color and there we see what is meant by 'tones'.
When we move on to the colored paintings we must place the tones of different colors into their order, tones get darker as they come towards us, which makes a painting on a flat surface look three dimensional.
Learn to use the tools, like rideing a bicycle or eating with chop sticks, your mind will learn to control the colors, meanwhile you will make mistakes from which you will learn what not to do.
It is better to paint many simple pictures than to try and produce a major painting while first learning to paint in oil or acrylic.

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So Nice Coloring Painting Tips

Color can be confusing. If you have mastered the meaning of ‘tone’ (light to dark) then you must now continue to use light tones and dark tones of many colors in the painting.
Try to think of it this way – you wish to paint scenes with foreground things, say a barn and background things, say mountains. Between you, the barn and the mountains is air. The air is transparent 99% but 1% is blue. So the further away things are the more air is between you and it and the bluer the thing will look. But it will look pale blue, not dark blue. That is why we must not use black in a landscape painting. You can not see the color black when it moves away from you, it absorbs the blue of the air or red of the sunset or green reflected light from the local trees and it is not black any more. We can not add white to the black as it is still a tone of black, not natural. Natural colors are always a combination of the colors of the day which vary from morning to night. So do not just pick any color that looks pretty to put in your mountains, that mountain color should run right through your painting, it should be in the grey under your feet and in the grey of the clouds above you. So technically you should be able to paint a picture using only one of each color, red, blue, yellow and white.
The different paint manufacturers and types of paint and qualities of paint make it impossible for me to tell you exactly how to mix colors and tones of colors. Be careful not to add yellow to blue, add the littlest bit of blue to yellow to get your greens. Adding yellow to blue will leave you with a huge amount of dark green paint. Add crimson slowly to blue as crimson can be very strong. All in all take your time and experiment and learn.

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Karen Cusolito

Karen Cusolito work has taken many forms, from painting and mixed media to the large-scale steel sculptures she’s presently developing. She finds drawing to be the easiest and most concise form of communication and the human form a rich arena in which to explore and express emotion, intention, and challenge. Much of her work focuses on humanity and the environment and the delicate balance between the two.
Now, Karen embarks on a new series that studies the female form throughout history. Since 2009, she has been running American Steel Studios in Oakland, CA, which provides studio and gallery space to over 100 artists and small businesses.
Karen studied at Rhode Island School of Design and Massachusetts College of Art. She worked on several public art installations in and around the Boston area before moving to San Francisco in 1996 where she currently lives and works.

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Event

Often legitimized by its relationship to elite institutions of higher education, a work of art in the United States today is a product of the classroom, the loan repayment, the lecture-hall, and the homework assignment. But before the 1950s, becoming an artist had nothing to do with a BFA or an MFA. As Mark McGurl points out in The Program Era, what is novel about our time is not that it’s hard to make a living as an artist (that has always been the case), but that so many young people go to school, and often to expensive art schools, to try to become artists.

What are the implications of debt, rent, and precarity on culture in the 21st century? This talk presents recent findings about the poverty rates, rent burdens, and actual occupations of artists by BFAMFAPhD, as well as the power of solidarity art economy institutions to reproduce artists and art works that embody principles of cooperation and justice. Outlining the contradictory ways in which artists navigate solidarity economies within capitalism, the talk is an encounter with mutual aid networks, open source software, and community land trusts.

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A Boy With Fruit BAsket (oil on canvas 70 cm × 67 cm (27.6 in × 26.4 in)

These resolution of my highier photos show some of my own reproductions of famous oil paintings and drawings. Each Coloring & Drawing was prepared according to the techniques, materials and sizes are the original work. The completion time depends on the complexity of the work, just to give an example, I worked for two weeks to make "The boy with basket of fruits", while a drawing as "Oak and dyer's greenweed" take me a few hours of work.

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Hand Study With Full Dicriptions

“Easily the most asked question I get is “how do you draw caricatures?”. However a close runner up is “how do you draw hands?”. I’m not exactly the king of drawing hands, but I have made a special study of them as they are very important when doing comic book type work… hands and their gestures are a big part of “acting” and therefore of storytelling.

Next to faces, hands are probably the most expressive and intricate part of the human form. In fact, humans probably spend more time looking at their hands than they do looking at anything else over their entire lives. Being that we are all so familiar with the way hands look, a poorly drawn hand sticks out like a sore thumb (sorry about the pun). Oddly enough, hands are something that most artists struggle to draw well. So, with that in mind I thought I’d do a tutorial on my approach to drawing hands.

I’m a cartoonist at heart, so the hands I draw are not realistic hands by most definitions. However my style of cartooning lends itself more to realistic representation than, say, a certain four fingered gloved mouse or other much more cartoony characters do. Therefore a lot of the information in this tutorial will apply to drawing hands realistically as well as in more cartoon form. I’ll attempt to explain the basic anatomy of a hand, things to keep in mind at all times when drawing them and common mistakes and issues that plague many artists when drawing hands.”

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The Structure Of Hand Study

As with drawing anything, it all starts with an understanding of the basic form and structure of your subject matter. Hands are certainly no different. In fact, many of the most common problems with drawing hands stems from incorrect notions of the form of the hand. I’m not a big stickler for memorizing the names of muscles and bones because it seems to zone people out when you start tossing around “Carpal this” and “Metatarsal that”… however labels are something that some people need to be able to apply, so some general surface anatomy with layman’s terms seems to be the best approach. Here is a breakdown of a hand with the important surface elements labeled

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Knuckle Study & Tips

I can sum up the biggest problem most beginners have with drawing hands in one word: 

CURVES. 

For some reason people seem to insist that hands are made up of straight lines.. fingers are parallel to each other (they are not), knuckles line up in a row (no) the edges of the hand are straight and parallel (nope!), Once an artist starts seeing the curves in the hands and thinking of them as flexible objects made of multiple parts, they quickly improve their hand drawings.

FINGERS

Everybody knows (or should) that the fingers are not all the same length. Our naughty middle finger is the longest, and the pointer and ring fingers along side are almost the same length (ring is a little shorter). The pinky is the odd man out, being much shorter. That of course forms a curve along the top of the hand. What is often missed is that arc of that curve is not just a function of the length of the fingers, because the knuckles are also curved. Pinky therefore is not only shorter it’s set farther down into the hand, giving it the double whammy. Ring finger is actually the same length as pointer, but it appears shorter because it’s knuckle is lower on the hand than pointer’s.

Likewise the pads of fingers are not the same size, and the creases that define the separation between the pads are very staggered. Pinky’s first crease (down from the tip) lines up with ring finger’s SECOND crease. The tip of pinky lines up with ring’s FIRST crease.

KNUCKLES

Each finger has three knuckles on the back of the hand. The main knuckle is located at the base of each finger. The two minor knuckles farther up toward the tip. The main knuckle is knobby and has tendons that cross it creating a corded look running up into the finger. The second knuckle is covered with a very circular wrinkled surface, and the smallest final knuckle is indicated with some horizontal creases. You would think the knuckles would line up with the corresponding separations between the pads on the underside of each finger, but you’d be wrong. Curl your pointer finger and look from the side… the second knuckle and the pad crease under it exactly line up. However the smaller upper knuckle is more forward on the finger than the crease below it. That’s nothing compared to the main knuckle. Here is where a lot of people get confused with hands. Open your hand and look at it palm toward you. Look at the base of each finger. Many people think the knuckle of the finger rests directly behind the crease that represents the base of the finger right under the bottom finger pad. Now turn your hand around. That main knuckle is SIGNIFICANTLY lower on the hand. In fact it’s below the upper pad of the palm that curve below all the fingers. A lot more of your finger resides inside the palm/body than you might think. Understanding that is a big part of figuring out hands”

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Thumb Study

The thumb is a shorter, meatier version of the fingers. It has only two knuckles, one of which is hidden when extended. Compared to the fingers the thumb is much more diverse in it’s movements. It has a base that I think of as the meaty part of a chicken drumstick, and that drumstick can rotate inward, across and in circles from the palm. The “drumstick” of the thumb sort of coexists with the thinner drumstick of the outer part of the hand, which is a little like the bottom extension of the pinky. These two larger elements frame the hand and the palm. When drawing the thumb the curved vs. straight lines that define it’s form is important

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Cartoon Eyes Expressions Study

While working at Disney many years ago, we were asked to do a drawing exercise to explore expression using only the eyes. Some of the eyes we drew ended up in The Illusion of Life book. The idea was to see how many variations we could get by changing up brows, eyelids, pupil direction, etc. We were told that the first thing the audience looks for when connecting with a character on the screen are the eyes. Therefore, the eyes needed to clearly convey the thoughts and emotion of the character. This is a fun exercise I thought some of you might like to try.

Tips: 

1.) The left eye doesn't have to do what the right eye is doing. Variation can add life to your expressions. 

2.) Don't think of eyelids as "windshield wipers" or "venetian blinds" mechanically moving over the eye. They are soft fleshy parts that wrap around the eye and can change shape when pushed and pulled by facial muscles.

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How To Draw Hands Masculine & Feminine Art So Nice And Easy Tips

These are some design 101 that I always keep in mind whenever I’m designing hands; mass, shape, and pose.

The basic rule of thumb for mass and shape is, the bulkier and wider the shape; it will appear more masculine. And the longer, leaner, slender the shape; it will appear more feminine. 

Different pose will give masculine/feminine quality. So when I want to make my hand appear more masculine, I think of stereotype of strong big person, like a superhero (hulk, superman, Xena … etc), or Michelangelo’s hand from creation of Adam. And when I’m designing feminine hand, I think of a graceful dancer. Another feminine stereotype pose is having the pinky flares out, like the way English ladies holding their tea cups.

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Asymmetry in Facial Expressions Art

A lot of times, asymmetry will bring energy and movement to a pose or composition. More specifically, I feel like breaking the symmetry of a character’s expression is key to bring interest to it. Of course, there’s always a situation where there’s a need for symmetry. 

On top of my head, I can think of depicting a character who has an authority role, or the “undefeated champion of something”, or the “cold stone killer”, etc. 

So, a symmetrical facial expression usually means the character is: supremely bored, supremely confident, has no emotions, has a poker face, or is dead. Did I miss one? Symmetry in framing is also quite rare, but when handled by a master (Kubrick, Anderson), it’s undeniable

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How To Draw Child

Just a little thing I've been noticing. Something to keep in your mind, I guess, if you find drawing kids difficult. I'll probably scrap this in a bit.

For a complete lesson, just watch some Miyazaki haha. Other than the obvious wonderful designs, I love how he handles children because he takes them really seriously. He knows that being a kid is rough and they feel things very intensely and truly, and it sucks when adults brush off their triumphs and trials as small potatoes, which we tend to do because we think our problems are more important. But I think children feel much more deeply than adults do, meaning they have the capacity to be much happier, and much sadder. Miyazaki is able to capture that whole spectrum”.

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Hand Art Easy Tips Come To Learn

“I’m not quite sure how to explain the way I draw hands, sometimes I have a method and other times I just sort of wing it with scribbles in the form of hands that I later define. I guess I will start by showing you the method i try to use…

Now bare in mind that these are not exactly anatomically correct hands because the way I draw most of my hands, they tend to be caricatured. But it always helps to have an understanding of real hand anatomy. Knowledge of perspective also comes in handy. Also, if you have any knowledge of 3D modeling or want to know how to model hands, this can also help. 

Try to think of the hand as a box. As sort of rectangular, flat, slightly flexible box. Even the fingers are rectangles. And the thumb. If you break it up that way, you can draw the hand from all sorts of angles. From there, you can add variety to your hands by squashing or stretching the rectangles and reshaping them any way you please.

I’m not the best at explaining my methods but I hope that helped at least a little!.

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Stylized Hand Tips

“This was a small packet (4 pages) of sketches I created at the beginning of my job as Head of Character Design for the TV show I'm working on for CBN, called "Superbook". 

We already had a "anime influenced" style to the show, but the CG modelers were not making very unique, stylized hands. They were making real hands, which looked odd. Worse, they were the same hands no matter male or female, young or old, fat or thin characters. Anyway, thought you all would want to see this.
“This was a small packet (4 pages) of sketches I created at the beginning of my job as Head of Character Design for the TV show I'm working on for CBN, called "Superbook". 
We had a "anime influenced" style to the show, but the CG modelers were not making very unique, stylized hands. They were making real hands, which looked odd. Worse, they were the same hands no matter male or female, young or old, fat or thin characters. Anyway, thought you all would want to see this. ”

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Anatomy Art About Upper Leg

So I'm working my way up the body and have just finished my thigh/upper leg tutorial. I wanted to draw the figures in a way that is easy to understand and nothing explains form better than planar blocks.

please note: THE BODY LOOKS LIKE A MACHINE, BUT WE ARE NOT MACHINES! keep your lines embedded with life! Stretch or compress that figure if it feels right. Bend proportion for effect, but don't break it.

WE LEARN THE DETAILS SO THAT WE CAN INCORPORATE THEM AND ONE DAY FORGET THEM''.

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Tapering Body Shapes Drawings

“While out on a date night my wife began sketching an arm with a hand on a napkin. As she drew the sketch was turning out cute and cartoony. She asked me to give her a lesson based on her sketch. The first thing I thought about was the shapes must taper! I started sketching the same drawing she did and began tapering the shapes of the caricatured anatomy. I also added in straights against curves but the tapering shapes were what I wanted her to grasp right off the bat. I started speaking the direction of "start with a shoulder, it's a bit round then down to the biceps, down to the elbow...etc"

The skin closet to the the joints such as the elbow, wrist, and ankle are some examples where the shapes taper in. the rest of the anatomy could very in almost any kind of shape depending on the person.

My wife was catching onto the lesson and started asking for more tips but suddenly my buffalo chicken sandwich arrived and art school ended.

Tapering shapes will help any drawing or sketch. This is deceptively simple but a good one to remember. It's enemy is symmetrical shapes and parallel lines.

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use clay and porcelain art very nice art

Use clay and porcelain to make his disturbing sculptures that definitely amaze the viewer. She is best known internationally for her strange figures. Ronit applies her creepy creativity in the kitchen, setting realistic mouth and fingers on plates and cups.

The combination of cups with fingers ceramic represents an idea, in which a will, which allows a cup decide for itself whether to stay or leave the situation as it is created", says Ronit metaphorically to explain his concept.

The motives of her work are the hands and mouths to appear where least expected. She also uses wires that seem spider and give the impression to suffocate her victims. At the same time she wants to set on objects freedom in everyday situations, allowing perceive the object with life. Ronit Baranga has the ability to surprise the audience with her lively creativity that questions the limits of beauty and shows that not everything is done or seen in the art world.

Ronit Baranga studied psychology and Hebrew Literature, but later discovered the art as her true vocation. After finishing college she began studying art at Bet Berl College and continued in artisanal CampLodge Yael School. Since then she has not stopped these most wonderful sculptures that capture the viewer's attention by the enchanted atmosphere surrounding her creations.

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made animal with the help of pieces Art

I'm going to tell you some necessary tips about art, we are going to make some diffirent things by the help of pieces, Ironically my pieces are not drawings but sculptures as I wanted to show that you can draw with things other than pencils.
I thought I'd put a couple of examples of these 'drawn' pieces on here. It is a good exercise to make very simple pieces and it can be more difficult than the complicated work. I try to ensure that each component is only included if it is absolutely necessary so that the negative spaces are as important as the positive parts of the objects.

Tack Hammer Deer has less than 30 items in it. The eye of the deer is described by the hole for the shaft in the hammer head. Careful choice of items ensure that the delicate stance of the deer is captured without too much detail.

Resting Hare is another simple piece with careful attention to positioning of each tool and the proportions of the work. The horseshoes for the hindquarters work well and the forelegs (one of which is the shaft and half of a hoe) help give an elegant feel to the sculpture. It is interesting that the lack of any reference to the hindlegs is not a hindrance to the piece proving that less really is more.

Canterbury Hoe Hare is even more simple with only a handful of items to give the impression of the hare.

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Western European art,

Western European art, it are semiotics of art of intellectual modern study/Modern Science and Fashion Mode. As for the Western European art, what's called process to reach the holography picture of David Lynch who is an American film exists via the Renaissance from ancient Greece philosophy. From mathematical music construction of the Beethoven symphony eighth to Debussy and French modern music of Ravelle, the European music classical music is the geopolitical thought architecture of the intellect to be completed in Schoenberg more. Information technology/IT=Information Technology and information and communication revolution /INTERNET, the technology that the technology evolves in the Internet from a television to a personal computer as for the media theory which shifts from a picture to a movie here and let you accelerate the personal nature of the unit to SNS advance. This which wants to overlook the special mention phenomenon that created intelligence of the human who is new for the present in the Beatles that absolute pleasant feeling-related art is born as for the Western European art here that revolutionized history of West art by avant-garde public art rock'n roll in the British Beatles with literature, poetry, music, a movie, art, a
picture, drama, the opera is at the movement when West Europe art woke up a revolution from education and traingng of grave academic West Euroge to a style of radical will, but the West Europe art creates art of study /Modern Science in modern times by the logic that is complicated throughout. When subdivision classifes processes to reach the holography picture of David Lynch who is an American film via the Renaissance a little more, beat generation / beatniks are incorporated in style revolution of radical will by the Beatles, these temporal axes and space axis via the Renaissance by ancient Greeae philosophy, and the Beatles and the personal of the pop unit are intelligent in view of the world =DIGITAL MEDIA of Macintosh of the apple, and Western European art is made high density information by ancient Greece philosophy. Western art, it are semiotics of art

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how to folds the clothes art

Today I'll explain you more tips of fold, how to draw with folds I will eventually cover all types of folds but today is about simple folds on everyday clothes (t-shirt, jeans). The key is to know what to expect and then applying what you know to simplify what you see in front of you (when life drawing). A lot of the folds dynamics on shirts and jeans come from the “memory” of the fabric itself. Denim is thick and is likely to keep some form of wrinkles or folds around certain areas (knees). A lot of zig-zag patterns around the knee is very likely. When pushed down on the feet, the denim fabric will bunch up and combine with the zig-zag pattern. Shirts and t-shirts will react to the twist and pull of the arms and torso. Identify where the pull (or tension) is coming from and work from it. I tend to draw the seams because they clearly express the volumes underneath.

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Easy Tips How To Darw Glass With Water

Follow this step by step guide to drawing a realistic 3D representation of a glass of water with water pouring into it from a glass bottle. In this drawing Artist use a 4B pencil, a charcoal pencil, an eraser, light grey paper and a soft white pastel. We hope you find this drawing guide useful for your own drawing.

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Art Tips (helpfull)

“It’s crucial to find ways to draw characters clearly and fast when storyboarding. Line mileage alone can become an impossible mountain to climb if you don’t simplify the way you draw characters. Leave all details aside and find the essence of a character. Shorthands are the gesture drawings of storyboarding. Specific characters have specific attributes that make them stand out. Sometimes it’s just the way they stand. Sometimes their hairstyle is unconventional. Find what’s key about a character and get rid of what’s common”.

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Clothing Folds And Creases Art,

“I wanted to share some quick philosophies about drawing folds and creases on clothing. This is something that can be deceivingly simple. We know the concepts in our head but when we have to draw folds they end up looking awkward and misplaced.
What I point out below is pretty obvious.
The main things to consider are:

1.) Clothing/Drapery behavior is not random, and..
2.) Observing is drawing.

Look for clothing behavior in daily life and make mental notes, then sketch them until they look natural”.
I'm Going to tell you some quick necessary thing about drawing folds and creases on clothing. This is something that can be deceivingly simple. We can draw a easy way, We know the concepts in our head, what I;m thinking, but when we have to draw folds they have ended up looking awkward and misplaced.

What I point out below is pretty obvious. The main things to consider are Clothing/Drapery behavior is not random, and Observing is drawing. Look for clothing behavior in daily life and make mental notes, then sketch them until they look natural”.

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Enconter with animals art

"The encounter with the animal troubling archaic manner, certainly not in the Zoo happens in block village work: the exploration and Erfindungsort is located in the depths of the human soul." W.Post Petra Blocksdorf * 1955 Berlin, lives and works in Freiburg studied of painting at the Art Academy of Karlsruhe,
Encounter to the animal troubling archaic manner, certainly is not in the Zoo happens in block village work: the exploration and Erfindungsort is located in the depths of the human soul." We have Posted Petra Blocksdorf in 1955 Berlin, He lives and works carefully in Freiburg studied of painting at the Art Academy of Karlsruhe in 1986, In 2011, we mixed media on paper, 15 x 21 cm

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Sherree Valentine Daines

Sherree Valentine Daines (British, born 1956). :Personal Narrative :As one of the UK’s most formidable contemporary artists Sherree has an impressive track record of exhibitions at such venues as the Tate Gallery, the Barbican, the New English Art Club and the Lord’s Museum. Her unquestionable virtuosity has made her a favourite with many celebrity collectors including members of the British Royal Family. Famous names in the world of show-business have sat for her including Joanna Lumley and Michael Parkinson. She has been televised painting members of the England cricket team, and as official artist to the Rugby World Cup she produced magnificent commemorative portraits of Martin Johnson and Jonny Wilkinson, both of which were bought by the stars concerned. Her recent projects have included the publication of ‘First Impressions’, a stunning hardback book celebrating her life and career, and a starring role in the Christmas Special of the TV Series ‘To the Manor Bowen’ in which she was shown painting portraits of Jackie and Laurence Llewelyn-Bowen. But despite this impressive list of artistic achievements, her career evolved from almost whimsical beginnings.

Born in Effingham in Surry, Sherree went to school in Leatherhead. At 18 she moved to London to pursue a rather staid and sensible career as a legal secretary. A bright girl and a fast learner, she soon found herself with time on her hands and began to indulge in some idle sketching. Colleagues, clients, even London’s ubiquitous pigeons appeared on her yellow legal pads, and looking objectively at her skill, she realized that she was in the wrong place altogether.
Art college beckoned and at the age of 20 Sherree enrolled at Epsom School of Art where she spent four years studying. Epsom was a highly respected, rather traditional institution and the Fine Art course was run on formal lines. Life models were regularly employed, form and composition were everything, and students were expected to master their art before they departed from it. It was here that Sherree’s distinctive style began to develop; as her training progressed she began to specialize more and more in figurative work and to produce pieces of unusual beauty and maturity for a student. Her penchant for concentrating on the light and shading within a scene led her down the route of impressionism, and the influence of artists such as Renoir and Monet can clearly be seen in her compositional technique.
The first Summer after graduation Sherree set herself up in Cornwall. Here she travelled around the villages and harbours painting the impossibly blue skies, beautiful countryside and beaches and above all, the people. Turning her considerable talents to persuasion and promotion this audacious and irresistible young woman talked the head teacher of a local private school into allowing her to mount an exhibition on the premises. Having borrowed the money for framing, drinks and invitations and invited everyone she could think of to the show, she found that by lunchtime she had made enough money to repay all her debts and by the end of the day she had sold everything and taken several commissions.
The fact that she could make a living from artistic endeavour came as a revelation to Sherree. With her usual energy she set about painting in earnest and locating more venues for exhibitions. From a small local theatre she moved onwards and upwards, steadily gaining a loyal and substantial following, until she was offered a one-woman show at the Barbican. This brought with it a huge stroke of luck in that the exhibition coincided with the opening night of “Les Miserables”, bringing in a large and influential crowd. As ever Sherree’s impressive talent combined with her great personal charm and London really began to sit up and take notice.
Around this time Sherree gave up her “day-job”, designing jewellery for the prestigious Parisian company Chaumet, and turned her hand to painting full time. She spent her days moving around the city in all weathers, from the busy street markets south of the river to the opera crowds hailing cabs in Covent Garden. Anywhere that people were, Sherree could be seen, sometimes with pencil and sketchbook in hand, but more often than not brandishing her paintbrush in front of a precariously balanced easel. As she herself puts it, “when I was starting out as an artist I painted anywhere and everywhere. With my easel, palette and paint-spattered clothes I suppose I cut a slightly unorthodox figure but this worked to my advantage as I met a lot of interesting people. Amazing how often individuals come up and talk to you when they think you may be a little eccentric…” Continuing to exhibit regularly, she soon came to the notice of the movers and shakers in the cultural world and won a number of accolades including the Laing Landscape and Seascape Competition and the Young Artist of the Year Award from the Royal Portrait Society.(1)

Breakthrough :Although Sherree was gradually building an enviable reputation on the contemporary art scene, it was in the summer of 1986 that she got her first big break. Whilst painting the cricketers at a local match she was spotted by a member of the MCC, and this led to her being commissioned to paint the Ashes at all the test grounds. During this season she became a regular fixture on the BBC; every time play was suspended due to rain the commentary team would focus on the damp and windswept figure heroically taking on the British weather in the cause of her art. She recalls an occasion when she was painting on a roof and a howling gale was continually blowing her equipment over. She went and banged on a window which was opened by a charming gentleman who bent over backwards to find her a rope and secure her easel to a table leg while keeping up a stream of entertaining conversation. She was later told by friends that they had enjoyed hearing her hilarious interview with Brian Johnston on Radio 4’s “Test Match Special”. She also had a rather heated exchange with Freddie Trueman about the correct positioning of the fielders in one of her paintings, not realizing at the time that he was a total cricketing legend – the original Freddie.

From cricket, Sherree moved on to the British social calendar, sensing that here was a subject that would give her everything she needed to create satisfying artwork. She wrote to the organizers of Henley and Ascot to see if they would allow her to paint on site, and having seen her work they welcomed her with open arms. The only problem was that the strict dress codes were rather inconvenient for an artist who believed in freedom of movement and made rather free with her paint brush. In the end she compromised and they settled for a specially made artist’s apron in a Laura Ashley print, designed both to protect her clothes and to cover her knees. Modesty and creativity were happily allowed to co-exist.
Sherree had first encountered her husband to be, the artist Mark Rowbotham, at art college, but it wasn’t until they met nearly 10 years later that a romance was kindled. With typical spontaneity they married after a whirlwind courtship and set up home together in a beautiful old rectory in Surrey. They had their first child, Charlie quite soon after they were married, but both continued to paint in order to pay the mortgage. Over the next 10 years, three more children, Lettice, Bunty and Felicity, were born and Sherree’s life became a chaotic affair juggling school runs and nativity plays with celebrity portraits and Royal Ascot. Although from the outside her life looked perfect – tremendous artistic success for both herself and Mark, a very happy and talented young family, a beautiful home and of course an extremely glamorous lifestyle – she did at times feel a little hard done by when other young mothers were planning to meet for lunch or coffee mornings while she had to hurry back for a sitting or to finish a painting. This phase was short-lived however. With all the children at school and Mark working from his own studio locally, the pressure eased; Days spent in the studio became the norm once more, and has remained her life’s work ever since.
Alongside her hectic schedule of commissions, exhibitions, TV work, days on location, portrait sittings, and charity work, Sherree has found the time to run a life class for over twenty years. When she herself was starting out she took every chance to paint from life and she feels strongly that these studies are as essential to her work as scales would be to a concert pianist. Running the class has given her the chance to continue to work in this way, while passing on some of her expertise to students whom she believes benefit greatly from acquiring the fundamental skill of honest life drawing. It has also brought her face-to-face with some amazing characters. If they were ever let down by a model she would ask for volunteers from the local old peoples’ home, and one of the elderly gentlemen who sat for her was a survivor of HMS Hood - the largest battleship in the world in 1920 - when it was sunk in the famous engagement with the German battleship Bismarck.(2)

2007 represented a major milestone in Sherree's life and career, marking her 30th successful year as the UK's leading figurative artist. To celebrate this remarkable achievement, she released a stunning commemorative hardback book. ‘First Impressions' is a beautifully illustrated retrospective of the artist's work confirms her reputation as the face of Modern British Impressionism. Sherree continues to be one of our finest artists. Despite the ever-changing demands of artistic fashion and a fickle contemporary art market, she has never compromised in her artistic aims and values, and as a result has achieved a formidable status in the art world. In her own words:

“In terms of my reputation I do feel that I have been quite fortunate. Once your work makes it into major galleries and people start to sit up and take notice, you know that you are making an impact. This may sound a little strange, but I think I'm seen as a genuine painter, someone who buys into the whole concept of observation, interpretation, beauty, form, compositional balance, and uses the trusted medium of oils on canvas. This perhaps sets me apart from some artists at work today, and makes me appear to be a traditionalist. And insofar as I adhere to these traditional artistic values, I suppose I am. But I do operate strictly within the parameters of modern life, painting decisive moments from rugby matches or producing portraits of TV presenters in front of cameras! – in a way that I hope, believe, will continue to communicate with a contemporary audience.” (3)

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