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Pelukis MALAYSIA: i-lann yee
Posted by lukis on Friday, May 18 @ 17:04:44 MYT (54 reads)
Topic Pelukis Malaysia

"artist's proof', Zinc etching 1990

I-Lann Yee, the youngest artist in the group is also the most wary of actually being called an 'artist'. Her reticence is a result of her realisation that her work still has a long way to go before she feels it merits the accolade of calling herself an artist.

This caution is reflected in her approach to art in general, her playfulness and pleasure in the act of creating or as she likes to say "making and doing". Encouraged from very young she has always remembered "make and do" days when she would be busy working with her hands. Unsurprisingly this is reflected in her pleasure in the process of creativity or "making or doing" as she prefers to call it.

One of her greatest interests is photography. or rather photographs, a medium that has afforded her enormous potential in terms of "making and doing". Having said this she still feels that she is a painter at heart, catergorising her photographs as pretending to be paintings. Whatever they are, her work is infused with a refreshing sense of fun and sensual pleasure. Looking at her photographs, her prints and her paintings it is impossible to escape the feeling of intense physical pleasure that the artist has derived in their making.

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Pelukis MALAYSIA: Anna Chin Chui Han
Posted by lukis on Friday, May 18 @ 12:01:06 MYT (64 reads)
Topic Pelukis Malaysia

"Seed of Hope in the Sea of Sorrow", Acrylic 1994. 137 cm x 107 cm

Born in Lahad Datu, the twenty-seven year old Anna Chin, is one of the new breed of women artists now achieving some degree of prominence in the country. A graduate of the Malaysian Institute of Art (MIA) where she now teaches, her deeply personal, surreal style of painting has benefited from strong encouragement along the way.

Anna Chin comes from a family that has long appreciated the importance and value of drawing and calligraphy. Her paternal grandfather was a calligrapher and private tutor of the Chinese language. Her sisters and various uncles and cousins were also proficient in drawing. As such-her precocity in drawing was encouraged by her parents and other family members. From a young age, Anna felt a compulsion to draw. "I draw everyday to express myself, like keeping a diary" she recalls.

Her ability to draw and paint meant that she turned to her gifts whenever the spoken word fail her especially when she was feeling particularly sad. This vein of self-exploration and catharsis - exposing and painting the things that caused her sadness is a trait that one still finds in her paintings today.

Anna Chin is strongly influenced by the ex-MIA teacher Wong Hoy Cheong who encouraged her in this vein. Honesty is paramount in her work and she says, "I never hide in my work. I must be true to myself." Her quirky surreal style with its strong emphasis on the woman's inner life is reminiscent of the Mexican artist Frida Kahlo. Like Frida Kahlo, Anna also spends much of her time painting herself actually into her own canvas.

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Pelukis MALAYSIA: Awang Damit Ahmad
Posted by lukis on Friday, May 18 @ 00:20:12 MYT (81 reads)
Topic Pelukis Malaysia

EOC "Gubang Bigul", Oil on Canvas 1990. 150 cm x 180 cm

When most of us talk of painting, we have visions of an artist alone in front of his canvas, palette in one hand, paintbrush in the other. With an artist like Awang Damit, however, such an idea is misplaced and over-simplistic. Awang's work has grown out of the natural forms of his Kuala Penyu childhood home. He has developed a distinct style of working that can tell us a great deal both about the man and his work.

First of all, Awang's work is more a 'making' than a painting. He sketches out drawings, deliberating on them -their overall form and structure, before turning to his canvas. However, even before he starts applying paint to the empty canvas, he spends his time tearing and cutting up extra lengths of canvas that he will glue to the work in progress. And it is these smaller pieces of canvas that help give his work the extra dimension that we later see in front of us.

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Pelukis MALAYSIA: Norma Abbas: SPREADING Consciousness
Posted by lukis on Sunday, May 13 @ 01:50:11 MYT (104 reads)
Topic Pelukis Malaysia

66"x 44"
Mixed Media Collage 1995

People and the world around them. That is the prevailing theme in Norma Abbas's work. Spouses, children, family, tete-a-tetes with friends, neighbours and nature ..... these scenes occur, recur and concur in various guises in the artist's multi-faceted collage works. Her works portray various strata of Malaysian society in volatile colours and textures that form coherent compositions in which her characters come alive. It is indeed with pleasure that GaleriCitra presents Norma. Abbas and her works to you.

The works of Norma Abbas figurative, semi abstract, bold and colourfully decorative are very easy to like, but there is more, much more, to them. Intimate but also exuberant, delicate yet also free-flowing, sweet yet strong, romantic and sensual and occasionally erotic, gay but often with a touch of poignancy, apparently playful but distinctly calculated, they bear the imprint of a sensitive spirit, who is also an honest and careful observer and a talented and accomplished artist.

For the most part, her works are about relationships, usually involving women in a group or alone. What are these women talking about? And what is that woman, in a picture by herself, thinking, feeling? In a revealing phrase Normal has said, 'I wait for the moment of contact... I capture it in my heart and I go home and paint.' As a result, one senses Nothing superficial in her work but a genuine warmth and intimacy, as often infused with energy and passion as with 'emotions recollected in tranquility: The technique she uses is the product of her training in textile and design, graphics and painting so that her works are a wonderful mixture of cut-outs, drawing, graphic, print and painting – all executed with sureness, vigour and confidence, and held together by a fine and sensitive artistic intelligence.

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Posted by lukis on Saturday, May 12 @ 20:59:46 MYT (89 reads)
Topic Pelukis Malaysia

Whiskers, Glass, 13 x 10 inch 2001

Memory is a funny thing; it can make us or break us. Our childhood remains one of the most potent factors in determining the kind of adult we grow up to be. Of course, the blue print handed down through our genes also influences us in equal measure. With the growth and understanding of modern psychology, we now begin to understand that many of the fears, hang ups and idiosyncrasies we exhibit in adult life can be traced to the experiences we undergo in childhood.

The mind of a child is, for the most part, a blank page on which the ink of life will chart its course. Will it be dreamy doodles, filled with the laughter and innocence of a carefree childhood? Or dark and angry scrawls betraying a brooding and unhappy juvenile hell? Children, with their innate desire to learn, are at an impressionable age, and are quick to make sense of thinga around them. Grown ups may think that children can be fooled into believing what we want them to think, but in most instances, the child exhibits an uncanny ability to "read" situations as they truly are, based on their own perceptions.

Zuzila Zain remembers her childhood with alacrity and fondness.This city girl never severed her link with the kampung. School holidays would see her parents bundling the children off to Kangar, Perlis to visit with their grandparents. Zila loved these escapades into the countryside because it signaled FREEDOM - no homework, no getting up early for school, no worries about "bogeymen" trying to kidnap little children, no rules and regulations, so to speak. Of course, the village had its own set of dos and don'ts as enshrined in the adat, but for a child , this was merely a part of her upbringing, and didn't seem as daunting as those imposed at school, for instance.

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Posted by lukis on Saturday, May 12 @ 12:12:07 MYT (81 reads)
Topic Art Articles
Drawings form the basis of humankind's earliest record of itself. Cave images were developed over many thousands of years, and perhaps date from as early as 25,000 B.C. From the gracefully moving and empathic pictures of hunted animals to the pictograms of their pursuers and the stencils of the hands of the artists themselves, they range in form from the surprisingly naturalistic to the entirely schematic. Drawings pre-date written language and were the foundations for hieroglyphic picture symbols; the Egyptian hieroglyphs for ox, , and house, , slowly evolved into the 'A's and 'B's of this page. Maps, which picture the world from positions we cannot physically occupy, are known to have existed in Babylonia as early as 4,500 years ago.

Construction plans, which project into the future, were in use in the Old Kingdom in Egypt, and what could be considered the first naturalistic portrait – of the pharaoh Ahkenaten – was made at the capital he founded at Amarna in the following millennium. Classical vases and reliefs were essentially drawn, and provided Greece with visual interpretations of its narrative histories and myths. In the Renaissance, drawing became the meeting place of the scientist and the artist, both using it to determine the underlying nature of reality.' Today we use drawings to direct the most ordinary activities – crossing the road, giving first aid, changing the film in our camera.

Our technology relies on drawings to construct microchips as well as sky-scrapers, and, from wallpaper to clothing and tattoos, we decorate our living spaces, objects and ourselves with drawn forms. Drawing, in its many forms, is the principal means by which we organise the world visually. We use it to work out ideas of all sorts, collect information and analyse the way we see things in order to plan, instruct or speculate. Through drawing, we are led to 'see' and to understand.

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Art Tips: Drawing: STUDIO STICKS: Lobster on a Plate
Posted by lukis on Saturday, May 12 @ 09:38:52 MYT (59 reads)
Topic Art Tips

Studio sticks are an ideal medium for beginners. They are broad and chunky. One of the main hurdles when learning to draw is lack of confidence, and this tends to force the inexperienced into attempting detailed renderings. The studio stick, however, invites a bolder approach. The sticks e also available in a wide range of colours, allowing for colourful, adventurous interpretation.

These bulky sticks are used here to draw an object which at first glance seems exactly the wrong one for them — the complicated, organic twist of claw, tendrils and `whiskers' which are typical of the lobster. The artist, however, has decided not to carry out an intricate, academic drawing but to produce a big, sketchy image. The advantage of this is that it magnifies many of the shapes and colours which lie within the form of the lobster and which would be lost if the drawing was to real-life scale or smaller.

The artist has also decided to have no background in this picture. The lobster spreads itself across most of the support. For the drawing, it was set upon a white plate, the same tone as the paper, so that the backdrop would be white during the drawing.

Although it is an interesting shape, the lobster is not obviously colourful. But, on looking closely, you will find that the dark tones are actually tinged with traces of orange, pink and bluish reflections and highlights. The artist intends to use studio sticks to bring out and exaggerate the colours in a loose and bold way. A range of bold colours is used, and the artist works on a large scale, so that the picture can be drawn in loose, flourishing strokes to capture the forms within the subject, without being restricted by the actual scale.

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Old Master Artists: ALEKSANDR DEINEKA 1927: Female Textile workers
Posted by lukis on Wednesday, May 09 @ 12:56:56 MYT (56 reads)
Topic Old Master Artists

Female Textile workers
Oil on canvas, 171 x 195 cm
St Petersburg, Russian State Museum

"Realism is not what
real things are like, but
what things are really
Bertolt Brecht

Aleksandr Deineka received during his lifetime many honours: not only the Lenin Prize, but the honorary titles of Meritorious Creative Artist of the RSFSR, People's Artist of the USSR, and Hero of Socialist Labour.

Female Textile Workers was painted in 1927, five years before the term "Socialist Realism" was coined at a meeting attended by Stalin, Maxim Gorki and the Soviet artistic and literary elite. The stylized depiction of women's work in this 1920s' picture is still far removed from the muscular ball-players and the idealized nakedness of his later rearview nudes, which were designed for successful apparatchiks to feast their eyes on.

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Old Master Artists: SAN PIETRO DI CAGNACCIO 1928: After the orgy
Posted by lukis on Wednesday, May 09 @ 12:40:25 MYT (55 reads)
Topic Old Master Artists

After the orgy
Oil on canvas, 140 x 180 cm Private collection

Born as Natale Bentivoglio Scarpa, the artist chose the name Cagnaccio di San Pietro in about 1920. It was under this name, after brief excursions into salon painting and Futurism, that he became known as an exponent of the Italian variant of Neue Sachlichkeit, before he returned once more to a more traditional form of painting. He died in Venice, where he had spent the war years in hospital as a result of his critical state of health.

After the Orgy (Dopo l'orgia), dating from 1928, is an example of a suggestive Magic Realism a l'italienne. The striking thing about the three women in variously relaxed sleeping positions is their similarity: the pale skin colour, the chestnut hair, the smoothness of their muscular slim bodies all suggest that the same model sat for all three. In other words, that we have three views of one and the same exhausted person. The woman on the right-hand side has her arms folded behind her head and her legs somewhat stretched; moving clockwise, the next woman has pulled up one leg, while the third occupies the foetal position, her defensive attitude emphasized by the fact that she has her back to the beholder.

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Posted by lukis on Wednesday, May 09 @ 12:20:47 MYT (61 reads)
Topic Old Master Artists

v.1. Lenin in the smolny
Oil on canvas, 198 x 320 cm Moscow,
State Historical Museum

Isaac Israilevich Brodsky was one of the chief exponents of Socialist Realism, and for a time Director of the Academy of Arts of the USSR. In 1922 he was one of the founders of the Association of Artists of Revolutionary Russia. His pictures of revolutionary and reconstruction scenes after 1919, some of them based on photographs, form a kind of chronicle of the first decades of the Soviet Union, In 1920 he was commissioned to paint the inaugural session of the 2nd Congress of the Communist International.

The resulting monumental picture was successfully exhibited at first, but a few years later disappeared from public view, because of its all-too realistic depiction of all the revolutionaries who had meanwhile been purged.

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Art Tips: CONTE CRAYONS: Still-life with Drapery
Posted by lukis on Tuesday, May 08 @ 15:19:48 MYT (74 reads)
Topic Art Tips

The cast of a head rests at the foot of a long, hanging drape, positioned near the simpler spherical form of an apple – a challenging arrangement which requires a systematic approach. The artist uses come, which can produce darker lines the more heavily it is pressed. In order to achieve absolute control, however, the artist did not rely on different pressures. Instead, cross-hatching was used to build up the grades of tone. Fairly light crosshatching was applied, and further layers were added where necessary to create darker regions.

By adding light layer upon light layer you can retain total control and tackle quite complex compositions. Because come is softer and chalkier than modern studio sticks, it can smudge. Here, an experienced artist used fixative only at the final stage. However, there is no reason why you should not spray with fixative at each stage, between tones, especially after using white. Fixative is a varnish, so a light spray is sufficient. Too much will smooth the surface which will become shiny and resistant.

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Art Tips: Techniques: COLOUR STICKS : Texture
Posted by lukis on Tuesday, May 08 @ 14:17:56 MYT (54 reads)
Topic Art Tips
The conveniently squared shape of Conte and studio sticks means you have a lot of choice when it comes to making marks and creating texture.

Draw with fine, medium or broad strokes, depending on whether you use the sharp edge, broad end or side of the stick. The textures demonstrated here show just a few of those possibilities.

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Art Tips: Studio Sticks: Laying Colour
Posted by lukis on Tuesday, May 08 @ 13:55:39 MYT (52 reads)
Topic Art Tips
Studio Sticks: Laying Colour
Practice will enable you to control the colour and tone of waxy studio sticks to some extent. We have already seen how optical mixing can be used to combine colours on the support. This technique, however, is not suitable for all types of work, and you may not want your picture to be dominated by the flecked texture which characterizes optical mixing. In the pictures below, the artist demonstrates alternative ways of laying and mixing colour.

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Art Tips: Studio Sticks: Optical Mixing
Posted by lukis on Tuesday, May 08 @ 13:28:49 MYT (59 reads)
Topic Art Tips
Studio sticks are waxy and heavy, without the crumbly, `blendable' texture of come, charcoal and chalk. Although they can be mixed by overlaying two or three colours lightly, subtle hues are limited because the waxy surface builds up, becomes shiny and resists further working. With studio sticks, two or three layers of colour are the maximum, and even then it can be difficult to control the effect.

One way round this problem is to mix colours optically' — in the eye rather than on the paper — by using small dots of colour to create exactly the shade you want. For example, greens can be mixed from yellow and blue dots.

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Art Tips: Techniques: COLOUR STICKS
Posted by lukis on Tuesday, May 08 @ 13:05:55 MYT (51 reads)
Topic Art Tips
Conte Crayons: Overlaying Colour
Less powdery than chalk and charcoal, conte colours can be mixed by laying one colour over another, allowing the underneath colours to show through. The sticks are square, which means you can obtain very fine hatched lines by drawing with the sharp edge of the end of the crayon, building up the colours in as many separate layers of cross-hatching as you need and allowing the colours underneath to show through.

In the illustrations on this page, the artist is using traditional conte colours – sanguine, black and white. The first colour, sanguine, is laid in neat cross-hatched patches on a tinted paper to obtain an even tone

(1). To darken this, the artist works over the sanguine in black, using the sharp edge of the stick to make thin, controllable lines

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Art Tips: Colour Sticks
Posted by lukis on Tuesday, May 08 @ 02:34:49 MYT (67 reads)
Topic Art Tips
Colour Sticks
Now is the time to move on to colour, and to start with we shall keep our emphasis on a bold and broad approach. To help with this, we have chosen materials which can be brought together under the general term 'colour sticks'. These are chunky, broad materials which encourage an open approach and discourage overworking, rubbing out and detail. Conte, studio sticks and wax crayons belong to this category. Although they call for bold marks, they are easy to use. They require less expertise, for instance, than soft pastels and oil pastels.

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Old Master Artists: CHARLES BELL 1983
Posted by lukis on Sunday, May 06 @ 11:34:17 MYT (60 reads)
Topic Old Master Artists

Gumball xv
Oil on canvas, 226 x 155 cm
Courtesy Louis K. Meisel Gallery, New York

"my paintings look real,
but it's a subjective reality."
Charles Bell

The Gumballs by Charles Bell, which have appeared in the years since 1973, are, together with his Pinballs and the pictures of marbles or old tinplate toys, among the best-known Photorealist still-fifes. Gumball XV, dating from 1983, is painted with great precision: the red paint of the vending machine is flaking off in many places, while the beholder can almost hear the coins rattling over the metal.

But the content is glossy and seductive: balls of chewing gum,and charms such as a miniature lock, a green plastic elephant or a little mirror — the casual integration of a traditional symbol of vanitas, itself a play on the double meaning of the word "vain", referring also to transience of earthly things — and above all two of the famous chewing-gum-vending-machine rings, for the acquisition of which countless little girls have invested a great deal of pocket-money and chewed a great deal of stale gum.

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Old Master Artists: KARL BLOSSIFELDT 1920
Posted by lukis on Sunday, May 06 @ 11:28:26 MYT (48 reads)
Topic Old Master Artists

b. 1865 in Schielo (Harz),
d. 1932 in Berlin

Karl Blossfeldt was an exponent of Neue Sachlichkeit avant la lettre. A sculptor by training, when he was appointed to a post at the Konigliches Kunst-gewerbemuseurn Berlin in 1898 to teach "modelling plants from life", he started to collect plants and flowers which he would prepare in his studio before photographing them against a neutral background. When his "Urformen der Kunst" (Basic Forms of Art) appeared in 1928, this self-taught photographer became famous in a quite different area from that of applied object-photography for teaching purposes.

In his history of photography, Helmut Gernsheim wrote: "Neue Sachlichkeit had its breakthrough with the publication of Karl Blossfeldt's Urformen der Kunst in 1929." Blossfeldt lived to see this recognition, though not the many reprints of his book in the years to come.

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Art Tips: CHARCOAL: Country Lane
Posted by lukis on Sunday, May 06 @ 09:34:31 MYT (53 reads)
Topic Art Tips

Most people seem to have a romantic, idealized view of the solitary landscape painter, sitting in the open countryside with his trusty easel and palette, at one with Mother Nature. In reality, working out of doors is not always a practical option. Even in the sunniest of climes, the weather can change from day to day and as the sun moves across the sky the shadows and colours will alter from hour to hour. Do not get us wrong, for there is nothing more pleasurable than sitting in the open and feeling a part of what you are actually drawing, but your time will be limited to certain parts of the day and, depending on the complexity of your composition, might mean that the project could take weeks. In days gone by artists had no choice but to work in the open, or from sketches made in the open, but with the invention of the camera the artist's life has changed dramatically.

In fact the camera allows the artist a great deal of freedom and spontaneity. The artist chanced upon this scene while out walking in the country and felt it would translate into a painting. Unfortunately he was not carrying his paints, but he did have his camera with him, so he was able to take several shots of the scene and add them to his own personal library of landscapes.

Thus, when it came to choosing a subject for this charcoal project he had a wealth of images to choose from. This particular one seemed to lend itself well to the medium of charcoal, partly because it contained very little colour and so could easily be translated into a monochrome rendering without losing any of its beauty, and also because it contained certain details that could be executed in the loose style of charcoal without losing any impact.

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Art Tips: CHARCOAL: Silhouette
Posted by lukis on Sunday, May 06 @ 09:12:34 MYT (56 reads)
Topic Art Tips

Although you cannot beat working with a live model, unfortunately we are not always in a position for this to be a practical option. Friends are often too shy and relations often too busy. You can pay a professional model, but this is not cheap. As an alternative, try your local art school or evening classes which will be less expensive.

Television provides plenty of models and if you have a video you can freeze frame your chosen model in the position you want to draw. For our project here, we used a photograph from a newspaper which caught the artist's eye. Newspaper images are invariably soft-edged — due to the quality of the paper — and charcoal sticks produce an attractively soft line which can be altered in tone through pressure. When working in monochrome it is impossible to add highlights, so the way around this is to use the white paper by letting it show through the drawing. So you will need to work out at the beginning where your highlights will be.

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Old Master Artists: MAX BECKMANN 1927
Posted by lukis on Saturday, May 05 @ 15:43:10 MYT (49 reads)
Topic Old Master Artists

b. 1884 in Leipzig,
d. 1950 in New York

Max Beckmann spent part of World War I as an ambulance-man. The experience resulted in mercilessly realistic drawings of the wounded, dead and dying. His meticulous observations doubtless led to his subsequent nervous breakdown. In his self-portraits he dissects his own state of mind. One of the best-known, the 1927 Self-portrait in Dinner-jacket, clearly depicts someone who has seen a great deal.

What we see is a man coming across as self-confident to the point of arrogance with a pronounced, almost bald crown, one hand resting on his hip, and in the other, which is spread in a somewhat mannered fashion, the almost inevitable cigarette, which, along with the elegant black-and-white contrast of dinner-jacket and shirt, gives him an urbane air: in the 1920s, the dinner-jacket in advertising and portrait photography had become the symbol of big-city life. The picture background is divided into whitish-grey and black sections; on the left, a door-frame can be seen, which delimits the darkness of a room: the white wall towards the right is repeated in the white of the shirt, the black of the dinner-jacket is taken up by the darkness of the room next door.

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Old Master Artists: BALTHUS
Posted by lukis on Saturday, May 05 @ 03:44:39 MYT (68 reads)
Topic Old Master Artists

b. 1908 in Paris,
d. 2001 in Rossiniere

Balthazar Klossowski de Rota was born as the second son of the art-historian and painter Erich Klossowski and the painter Elisabeth Dorothea Spiro, alias Baladine Klossowski, and he continued to assert lifelong that he had never ceased to see with the eyes of a child. Balthus himself was opposed to any interpretation of his pictures. He wanted them to be understood as still-fifes, and cheerfully admitted that his painting was concerned with a world that was no longer valid today. When he was ten years old, he made a series of pen-and-ink drawings of a cat which had first adopted him and then run away again, published in an album by his friend and mentor Rainer Maria Rilke. From then on he created an oeuvre, limited both in its style and its motifs, whose declared aim was beauty.

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Art Tips: Watercolour: LAYIN WASHES
Posted by lukis on Saturday, May 05 @ 03:03:08 MYT (53 reads)
Topic Art Tips
The term "wash" is a rather confusing one, as it implies a relatively broad area of paint applied flatly, but it is also sometimes used by watercolour painters to describe each brushstroke of fluid paint, however small it may be. Here it refers only to paint laid over an area too large to be covered by one brushstroke.

A flat wash in watercolour, thinned gouache or acrylic can be laid either with a large brush or a sponge and the paper is usually dampened to allow the paint to spread more easily, though this is not essential. Washes must be applied fast with no dithering, so mix up plenty of paint before beginning – you always need more than you think. Tilt the board slightly so that the brushstrokes

flow into each other but do not dribble down the paper. Load the brush with paint, sweep it horizontally across the paper, starting at the top of the area, and immediately lay another line below it, working in the opposite direction. Keep the brush loaded for each stroke and continue working in alternate directions unti the area is covered.

Sometimes it is necessary to lay a wash around an intricate shape, such as a skyline of roofs or chimneys. In this case the wash must start at the bottom, not at the top, to allow you to paint carefully around the shapes, so you will have to turn the board upside down. If you are dampening the paper first, dampen only up to the edge, as the paint will flow into any wet part of the paper.

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Art Tips: Watercolour: TECHNIQUES
Posted by lukis on Saturday, May 05 @ 01:57:44 MYT (47 reads)
Topic Art Tips

The two most important characteristics of watercolour are, first, that it is always unpredictable to some extent, even in the hands of experts; and second, that because dark is always laid over light, some planning is needed before starting a painting.

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Pelukis MALAYSIA: Dr. Zakaria Ali
Posted by lukis on Thursday, May 03 @ 07:55:32 MYT (81 reads)
Topic Pelukis Malaysia

"Belum is overwhelming, poetic, deceptive, even absurd, all of which I tried to capture, but alas, fell far short. "

Zakaria Ali obtained BFA degree from Southwestern University, Georgetown, Texas; MA degree from Stephen F. Austin University, Nacogdoches, Texas; MA degree from Universidad de las Americas, Mexico; and Ph.D from Harvard University. He has written three novels: Empangan (DBP, 1991), Villa Maya (Berita Publishing, 1997), and Percikan (Utusan, 2003).

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Art Tips: Drawing: CHARCOAL AND CHALK ,Sheep's Skull
Posted by lukis on Tuesday, May 01 @ 08:16:49 MYT (57 reads)
Topic Art Tips

The subject here is more complex than the previous geometric forms. But the approach is still simple, seeking out the basic elements of the image. The sheep's skull -placed in the barest of settings with a piece of curved paper forming a background free of clutter and horizon -provides a less rigid exercise than the previous project. It is a more complete enterprise that is potentially more interesting, as there is more scope for personal interpretation.

You are invited to introduce new aspects now into your drawing. In this demonstration the artist looks for the graphic qualities of the subject - the effectiveness of the shapes themselves in an almost abstract sense. There is also an opportunity to be selective about areas of light and shade, rather than making an academic rendering of everything before you. The secret is to keep the selection to a minimum. Experience has taught the artist when to stop. The subject offers a challenging chance to try your hand at drawing line, exploiting all the different thicknesses and types of line, each doing a specific job. Here, for instance, the artist has used stronger line for the major shapes and outlines, tapering into a fine mark for the internal contours of the skull.

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Art Tips: Measured Drawing
Posted by lukis on Tuesday, May 01 @ 03:39:32 MYT (59 reads)
Topic Art Tips

By holding the pencil upright at arm's length, you can use it as a measuring device to help you to establish the correct proportions of the subject. Start by choosing one 'distance' on the subject as your measuring unit. Use the top of the pencil to mark one end of this unit, and your thumb to mark the other end. Everything else can then be plotted accurately in relation to this one measurement.

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Linear Perspective and Aerial Perspective
Posted by lukis on Tuesday, May 01 @ 03:37:35 MYT (52 reads)
Topic Art Tips

Linear Perspective
Imagine standing in the middle of a completely straight road, looking into the distance. You will notice that the edges of the road appear to come together and disappear at a spot on the horizon. The scene demonstrates perfectly the principle of linear perspective - that all such parallel lines on the same plane appear to get closer as they recede into the distance. The point at which they appear to meet is called the 'vanishing point'. The practical applications of linear perspective are important, because, if the perspective of a drawing is wrong, this distorts the whole composition.

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Art Tips: Drawing: Tone
Posted by lukis on Thursday, April 26 @ 02:01:46 MYT (60 reads)
Topic Art Tips
We are able to see three-dimensional objects because of the light which falls on them. Without light, and the shadows it creates, all objects would be seen as flat shapes. Strong, directional light casts harsh, defined shadows on and around the objects; it also creates bright highlights and reflections. The effect of diffused light is more subtle. The apple illustrated here was drawn in the artist's studio, with a strong window light falling from the top left-hand side, hence the highlights on the top, and the dark shadow across the right-hand side of the fruit.

To indicate light and shadow on an object means picking out the pale and dark areas. These darks and pales are known as 'tones'. The tonal range runs from black to white, and includes all the greys in between. To pick out the tones, or values, you should ignore the local colour as much as possible, and this can be difficult —especially if the subject is complex or highly patterned. This apple was actually red and green, but the artist was concerned only with the tonal, monochrome effect of the light and shadows, and chose to illustrate this in black and white. Any other single colour could have been chosen.

Types of Shading
These are various techniques for blocking-in shadows. Probably the most common way is to build up a shaded area with a series of parallel lines, a technique known as hatching. When the lines are drawn close together, the tone is dark; widely spaced hatching produces lighter tone. Whichever method you use, it must have this flexibility — you must be able to vary the tone.

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Art Tips: Planning the Picture
Posted by lukis on Thursday, April 26 @ 01:56:24 MYT (51 reads)
Topic Art Tips

When we talk of `composition' we are really referring to the way the subject is arranged on the paper. This may be a single object — a vase of flowers, or a figure. Or it might be an arrangement of objects, or a complete scene.

Whatever you are drawing, it is important to give some thought to the composition before you start.

These still-life drawings illustrate just four possible arrangements of the same subject, and there are an infinite number of other possibilities. Notice how the background plays an important part in each one. The basic division of the drawing into the blue and brown shapes is just as important as how the mugs and coffee pot are arranged. The artist has avoided a horizontal division, preferring a more interesting and unusual solution in this case.

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