Art-For-Design.com

How to use tools like an oyster shucker and others for creating texture on your abstract painting on wood; learn this and more in this free online art lesson about abstract painting taught by expert David A. Clemen.

Expert: David Clemen
Contact: www.davidclemenart.com
Bio: David A. Clemen has a BFA in Fashion Design from Virginia Commonwealth University and a one year Graphic Design degree from the Art Institute of Atlanta.
Filmmaker: Reel Media LLC

Duration : 0:2:22

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This is a song from the “our first video” from Mary-Kate & Ashley olsen. join our messageboard at www.trenchcoatwins.com/messageboard or our gallery at www.trenchcoatwins.net/gallery

Duration : 0:3:34

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http://globalldb.blogspot.com/
– ABSTRACT ART, MODERN PAINTINGS,contemporary and modern art, Modern artists paintings,-video media presentation from globalldb video media

Duration : 0:9:6

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http://erikthevermilion.com/art-oil-painting-and-reproduction-for-sale.htm Pieter Claesz Soutman was a painter, durin the Dutch Golden Age. About the year, of our Lo’ward, 1,000 500, and 80, did his mother bear him in Haarlem.

He breathed, for his entire life’s time, until, in Haarlem, upon the 16th day of August, in the year, of our Lo’ward 1,000 600 7 and 50, he quit breathin.

Arnold Houbraken wrote, that Pieter Soutmann’s art trainer was artist Peter Paul Rubens in Antwerp. We know that Pieter Soutman was one, of the top folks, of Haarlem, because he was told of, in Samuel Ampzing’s saga.

Rubens recommended Pieter, to the Polish court, as a top painter. Probably Rubens did it, while Prince Wladyslaw Vasa visited to Antwerp.

The year was of our Lo’ward 1624. That was the selfsame year, wherein Pieter went, to Poland. In Poland, Pieter was made, to be the royal court’s painter. Pieter worked, for king Sigismund III Vasa, in Poland, until the year, of our Lo’ward, 1628. Pieter painted portraits of Habsburgs and of Vasas, both.

He painted a portrait of Gustav Adolf the 2nd, Kin of Sweden. Also he painted the Habsburg emperors of rome, Frederick the 3rd, and Matthias. Pieter painted also a portrait, of Samson and Delilah.

That was the year, when Pieter went back, to Haarlem. After he got, to there, Pieter painted portraits, of families, for his own homies. Above all, he painted portraits for the other headmen, of the Hofje Codde en Van Beresteijn. Pieter was also one, of the headmen, thereof.

A portrait, of the Beresteyns’ family, was painted by Pieter Soutman. Later, it was mistaken to have been done, by Frans Hals, and, as such, was sold to the Louvre, 1860′s.

The paintings, of Pieter Soutman, now hang in sundry musea. Also, they hang in the Huis ten Bosch in Den Haag, The Hague, Netherlands, in Holland.

The paintings, of the Dutch Golden Age, mean so much to us! Excellent handpainted reproductions are so cheaply available, every prosperous Christian family ought to have at least 4 reproductions, of Dutch Golden Age paintins, of their choice.

Get yours, by followin the link, that you see, on your screen.

Duration : 0:10:23

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http://erikthevermilion.com/art.htm Original oil painting, of the Dutch Golden Age, show sundry traits. Soon, you will learn what those traits are, if you listen to this video. Dutch artist oil paintings differ from the Flemish paintings in ways, that are worthy of reckonin. In Dutch Golden Age art painting done much. Naetheless, other forms, of art, and craft, abounded, too. You are about, to learn what their identities, in this sequence, of interestin videos. The Dutch Golden Age oil painting artist, whereof you get wind, may well have been driven from Flanders. Oil portraits, and everyday views in art oil paintings, attracted the most buyers. Naetheless, ordinary, and portrait, oil painting did not always take up the time, of the great number, of oil painting artists. Sundry genres took form. Oil portraits painting got money, for the artist, but many artists were impecunious, if they chose not to paint portrait oil paintings.

Duration : 0:10:15

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Learn how to finish an oil painting in this free instructional video art lesson on oil painting.

Expert: Vince Fazio
Contact: www.vincefazio.blogspot.com
Bio: Vince Fazio, an artist for 29 years, is currently the Art director of the Sedona art center and has been for 9 years.
Filmmaker: Chuck Tyler

Duration : 0:2:49

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A lesson in modern oil painting techniques. Instruction includes drawing, charcoal, creating light & dark passages, creating texture, using the subject of Marilyn Monroe

Duration : 0:6:51

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This video is made for any person who wants to learn oil painting. This video will give you a solid base of knowledge. http://merrillk.com
Today, I am going to show you how to paint a puppy dog. I made this video for beginner to intermediate level artists, who wish to learn about traditional painting…I will try to show you how to paint. step by step. While I can imagine that painting a realistic looking puppy is intimidating for someone new to art, I will try to make my instruction as clear as possible, so that you can get in to great habits for the future. Once you are in good habits, you will progress very quickly.

I split this lesson in to four parts.

1.) Part one will cover what you need to know before you paint.
2.) Part two will give you an effective strategy for painting realistically The mentality of rendering (aka drawing what you see)
3.) Part three will walk you through the process of painting and I will give you tips while I paint. The process of “sculpting” a painting
4.) Part four will actually be a separate video and it will discuss glazing…a great finishing strategy. Glazing: Finishing a painting (Covered in another video)

Part 1.) I have two points to go over in Part 1-

1-1- First, pick a surface to work on. When I was learning painting, I would use cardboard in place of canvas to save money. Ten years later my original oil paintings are still in good shape. However, this would not be the case if I didn’t prime the cardboard with layers of Gesso. Without getting over technical, gesso gives your surface a protective layer that will prevent the oil from being over absorbed. Try to remember this silly saying, “Paint with cream, not with butter or milk!” No, im not saying that you should break out the dairy prodicts…..I am referring to the consistency of the paint. Cream is not a solid like butter …..and is not watery like milk. When you apply paint to a surface it should be creamy in texture. You can make the paint creamy by adding about three to four drops of painting medium to the paint that is sitting on your palette. The object in my hand right now is called a palette knife. I used it to mix the paint with the painting medium. For a long time, I considered this step trivial, but it makes a difference!

1-2 Oil Painters use mineral spirits to clean off their brushes and to thin out a paint mixture. Mineral Spirits is also known commercially as paint thinner and sold as an art supply called turpenoid for quadruple the price. You will only need a SMALL amount of Mineral Spirits because its very powerful. Use it sparingly when you wish to thin out your paint; because too much will make the paint runny and “milk-like” in consistency. Here is a great tip to remember when cleaning your brushes…..WIPE-DIP-WIPE. As silly as that sounds, commit it to memory….In other words….. wipe your brush with a paper towel…..Then dip it in to the mineral spirits and swish it around….followed by another wipe with the paper towel to take the extra spirits off your brush. The last wipe is especially important to prevent the excess mineral spirits from thinning out your paint too much

Part 2

Now you will learn a great strategy to help you paint what you see. I call this strategy, “jigsaw puzzle observation” because it is similar to putting a jigsaw puzzle together. Jigsaw puzzles are fun because you fit shapes together to create an image………I want you to think the same way when you paint. Try to see and identify shapes and then put them together like a puzzle. Painters sculpt and manipulate the paint on the surface of a painting until the shapes fit together as a recognizable image. Here….let me show you what I mean…..When you try this, I recommend that you get in the habit of looking at your reference image at least once for every five seconds; and then paint what you observed. After you get the bigger shapes in…..work your way down to the smaller shapes…….. If you feel that you cant work the paint any more. Let it dry and repeat this step on top of the dried paint. You have an advantage by using paint because it is opaque and it can cover over any mistake…… Take your time with this step. Skyscrapers cant be erected without solid supports and good paintings cannot be made without careful placement.
How to begin oil painting vido
Supply List
- Titanium White (paint)
- Raw Sienna (paint)
- Ultramarine Blue (paint)
- Ultramarine Purple (paint)
- Lamp Black (paint)
- Painting Medium (my favorite is called Liquin)
- Palette, Wax Paper or Aluminum foil (to mix the paint on)
- Mineral Spirits
- Canvas or Cardboard
- Gesso (white or clear)
- Paint Brushes (several sizes, tips, and softnesses……based on your preference)
- Cups for Mineral Spirits and Paint Medium

Duration : 0:8:27

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If you think that art and faith have little to do with each other, you may be surprised to find that they are actually more intertwined than you think.

Thats why the pope has invited some of the most talented artists in the world to meet with him in the Sistine Chapel in November.

Archbishop Gianfranco Ravasi
President, Pontifical Council for Culture
This meeting is meant to show how art, by its very nature, has a spiritual dimension to it, too.

Archbishop Gianfranco Ravasi says the dialogue between art and faith is waning, and this meeting is a way to help bridge an important gap between both.

Mons. Gianfranco Ravasi
President, Pontifical Council for Culture
Contemporary art has gone its own way. Its sometimes very stylistic or provocative, it encloses itself in its own genre, its sometimes unclear. And on the other hand you have religion and these churches that are decorated with beautiful art.

Antonio Paolucci
Director, Vatican Museums
I think the Church has a fundamental obligation to re-establish dialogue with todays artists.

Director of the Vatican Museums Antonio Paolucci, says that throughout the 20th century, the popes have been instrumental in bridging this gap.

Antonio Paolucci
Director, Vatican Museums
The popes of the 20th century like Pius XII, Paul VI, John Paul II and Benedict XVI, whos an intellectual, a philosopher and a theologian. These popes wanted to re-establish this dialogue with contemporary artists.

Some 500 sculptors, musicians, painters and actors from all over the world have been invited for the meeting with the pope.

Dialoguing with artists is something not uncommon for the popes of the 20th century. In 1964, Paul VI held a similar meeting with artist in the Sistine Chapel. And in 1999, John Paul II wrote a letter to artists where he expressed his esteem for them and his desire to renew dialogue between faith and art.

RS

Duration : 0:1:49

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