Hello friends. I hope you've been well. I can't believe that it's already August!

Gräser und Büsche gehören zu den größten Herausforderungen beim Zeichnen eines Landschaftsbildes. Diese Elemente stellen selten den Hauptblickpunkt dar können aber bei ungenauer Darstellung den Gesamteindruck empfindlich stören. Gras ist ein Unterstützer der Präsentation, es sollte das Gefühl der Szene widerspiegeln, leicht und fein für eine neblige Ansicht, dunkel und dramatisch mit viel Textur für einen dicken Teppich, Grass steht nie still es bewegt sich immer. Diese Bewegung dieser Fluss und die Richtung die wir darstellen können den Betrachter dorthin leiten wohin wir wollen mitten hinein in die Szene.

We are pleased to offer TWO OPTIONS for Brush & Ink Sets for Mayee Futterman’s classes. Select ONLY ONE SET. You may ADD-ON the “Premium Brush Upgrade” to substitute the OAS Pre-Series brushes for our finest Premium Artist Bush set. Best Bottle Ink & Brush Set: This set offers the most essential tools for Chinese ink painting. It includes the finest OAS Best Bottle Ink—surpassing all other inks in richness, transparency and smoothness. When used and mounted properly, this ink will not tend to bleed. Once dried, this ink cannot be rewetted and reused. In addition to the OAS Pre-Series brushes, this set also comes with a 3” wash brush and two Porcelain Ink Dishes. Basic Ink & Brush Set: An affordable entry level option, the set includes our small bottle Student Ink and the OAS Pre-Series brushes. While this ink lacks the overall superior quality of the OAS Best Bottle Ink, and will not achieve the same level of results, it offers an interim step for first timers who want to give brush painting a try before investing in higher quality materials. This ink can be rewetted and reused.

It's early Monday morning and the golden rays of sunshine are streaming through our windows.

Hello friends. Happy Friday. Just a quick post to say hello.Hope you had a

Hi friends. I hope you had a nice weekend. We're on our 'March break' and

Happy Monday friends. I hope you had a beautiful weekend. Last weekend hubby and I

Supplemental information from Nationalmuseum Stockholm (© - Nationalmuseum Stockholm - Nationalmuseum Stockholm) English: This is the very first known landscape painting where a Swedish artist has depicted his view of Swedish nature. It is an early morning in the middle of April and in the light mist the unmistakable lakeside landscape of central Sweden emerges. Spruces and juniper bushes rise up from the ground, which is peppered with lichens and mosses, and in the middle distance the view is flanked by pines and birches. But in front of this tranquil view, something dramatic is taking place – the artist has captured a magnificent black grouse courtship display in the heart of the Swedish countryside – somewhere outside Kungsör – in the spring of 1675. Ehrenstrahl was the leading Swedish artist of the late 17th century and was regularly called upon by the Royal court. Among the paintings that he executed alongside his Royal allegories and portraits of the elite, his realistic depictions of all kinds of animals take pride of place. In these paintings of hunting, birds and squirrels, the Swedish countryside can sometimes be glimpsed in the background. But in this painting, the landscape has emerged from a suggestive backdrop to become an indelible part of the lead motif. Anyone who stands before the painting to admire the landscape and the black grouse is not alone – concealed in a hide in the foreground sits another spectator of the drama that is unfolding. Alongside our modern eyes, a pair from the 17th-century still gaze out onto the misty April landscape – the original viewer in this first Swedish landscape is forever embodied in the painting. Det här är denna allra första kända landskapsmålning där en svensk konstnär skildrat sin upplevelse av den svenska naturen. Det är en tidig morgon i mitten av april och i det lätta diset framträder ett omisskännligt mellansvenskt insjölandskap. Granar och enar skjuter upp i terrängen, marken skiftar av renlav och mossa, och i mellangrunden flankeras utsikten av tall och björk. Men framför den rofyllda utsikten händer också någonting mycket dramatiskt – konstnären har här fångat ett storslaget orrspel som tilldrog sig mitt i den svenska naturen – någonstans utanför Kungsör – våren 1675. Ehrenstrahl var den ledande svenske konstnären under slutet av 1600-talet, flitigt anlitad av kungahuset. Bland de målningar som han utförde vid sidan av kungliga allegorier och porträtt av den svenska stormaktens elit, intar realistiska skildringar av allehanda djur en framträdande plats. I dessa framställningar av jakter, fåglar och ekorrar skymtar ibland den svenska naturen fram i bakgrunderna. Men i den här målningen har landskapet vuxit ut från en antydd fond till att bli en oupplöslig del av själva huvudmotivet. Den som idag står inför målningen och ser på landskapet och orrarna är inte ensam – dold i en riskoja i förgrunden skymtar ytterligare en åskådare av dramat. Vid sidan av oss moderna betraktare spanar en blick från 1600-talet fortfarande ut i det disiga aprillandskapet – den ursprungliga blicken in i detta första svenska landskap är för evigt manifesterad i målningen. Background information about the original piece of art Name of the painting: "Black Cocks at Ground" Classification: painting Art classification: classic art Time: 17th century Created in the year: 1675 Approximate age of artwork: around 340 years old Original dimensions: Height: 275 cm (108,2 ″); Width: 266 cm (104,7 ″) Framed: Height: 286 cm (112,5 ″); Width: 276 cm (108,6 ″); Depth: 8 cm (3,1 ″) Exhibited in: Nationalmuseum Stockholm Place of museum: Stockholm, Stockholm County, Sweden Available under: www.nationalmuseum.se License type: public domain Courtesy of: Nationalmuseum Stockholm & Wikimedia Commons About the painter Artist: David Klöcker Ehrenstrahl Jobs: painter Classification of the artist: old master Life span: 70 years Year of birth: 1628 City of birth: Hamburg Died: 1698 Died in (place): Storkyrkoförsamlingen About this product Product classification: art copy Reproduction method: digital reproduction Manufaturing technique: UV print / digital printing Origin of the product: German production Stock type: on demand Product usage: wall picture, art print gallery Artwork orientation: square format Image ratio: length : width - 1 : 1 Meaning: the length is equal to the width Materials you can choose from: poster print (canvas paper), acrylic glass print (with real glass coating), canvas print, metal print (aluminium dibond) Canvas on stretcher frame (canvas print) size options: 20x20cm - 8x8", 30x30cm - 12x12", 50x50cm - 20x20", 70x70cm - 28x28", 100x100cm - 39x39", 150x150cm - 59x59", 180x180cm - 71x71" Acrylic glass print (with real glass coating) variants: 20x20cm - 8x8", 30x30cm - 12x12", 50x50cm - 20x20", 70x70cm - 28x28", 100x100cm - 39x39" Poster print (canvas paper) options: 30x30cm - 12x12", 50x50cm - 20x20", 70x70cm - 28x28", 100x100cm - 39x39" Aluminium dibond print sizes: 20x20cm - 8x8", 30x30cm - 12x12", 50x50cm - 20x20", 70x70cm - 28x28", 100x100cm - 39x39" Picture frame: no frame Select your desired material In the dropdown lists right next to the product offering you can select a material and a size of your choice. Pick your favorite size and material among the following options: Acrylic glass print: A glossy acrylic glass print, often labelled as a an art print on plexiglass, transforms your chosen original work of art into lovely wall decoration. In addition, it is a viable alternative to aluminium or canvas fine art replicas. The great upside of an acrylic glass art print is that contrasts and also color details will be recognizeable with the help of the delicate tonal gradation. The plexiglass protects your custom fine art print against light and external influences for between 40-60 years. Metal print (aluminium dibond): This is a metal print manufactured on aluminium dibond with an impressive depth. A direct Aluminium Dibond Print is the perfect introduction to art prints produced with aluminum. For your Print On Aluminum Dibond, we print your work of art on the aluminium composite surface. The colors are bright and luminous in the highest definition, fine details of the print appear crisp and clear, and the print has a a matte look you can literally feel. The print on Aluminum Dibond is one of the most demanded entry-level products and is an extremely sophisticated way to showcase fine art reproductions, as it puts the viewer’s attention on the whole artwork. Canvas print: The canvas print is a printed cotton canvas mounted on a wooden frame. Hanging your canvas print: A canvas print has the advantage of being low in weight, which means that it is easy to hang up your Canvas print without the help of additional wall-mounts. Because of thatcanvas prints are suitable for all kinds of walls. Poster (canvas material): The Artprinta poster is a printed canvas paper with a slightly roughened finish on the surface. It is suited for putting the fine art print with a personal frame. Please note, that depending on the absolute size of the poster we add a white margin of something between 2 - 6cm round about the print motif, which facilitates the framing. Detailed art product description "Black Cocks at Ground" was painted by the painter David Klöcker Ehrenstrahl. The 340 years old piece of art measures the size: Height: 275 cm (108,2 ″); Width: 266 cm (104,7 ″) Framed: Height: 286 cm (112,5 ″); Width: 276 cm (108,6 ″); Depth: 8 cm (3,1 ″). Nowadays, the work of art is part of the digital collection of Nationalmuseum Stockholm, which is located in Stockholm, Stockholm County, Sweden. With courtesy of Nationalmuseum Stockholm & Wikimedia Commons (public domain license).In addition, the artwork has the following creditline: . In addition to this, the alignment is square with a ratio of 1 : 1, which implies that the length is equal to the width. Disclaimer: We try our best in order to depict our products as closely as possible and to demonstrate them visually. Still, the pigments of the printing material and the print result can diverge marginally from the presentation on the device's monitor. Depending on the screen settings and the quality of the surface, not all colors will be printed one hundret percent realistically. Considering that all our art reproductions are processed and printed manually, there might as well be minor variations in the motif's exact position and the size. This text is intellectual property and protected by copyright ©, Artprinta.com (Artprinta)

Hello friends. I hope you had a nice weekend. Even though I've lost track of

We are pleased to offer TWO OPTIONS for Brush & Ink Sets for Mayee Futterman’s classes. Select ONLY ONE SET. You may ADD-ON the “Premium Brush Upgrade” to substitute the OAS Pre-Series brushes for our finest Premium Artist Bush set. Best Bottle Ink & Brush Set: This set offers the most essential tools for Chinese ink painting. It includes the finest OAS Best Bottle Ink—surpassing all other inks in richness, transparency and smoothness. When used and mounted properly, this ink will not tend to bleed. Once dried, this ink cannot be rewetted and reused. In addition to the OAS Pre-Series brushes, this set also comes with a 3” wash brush and two Porcelain Ink Dishes. Basic Ink & Brush Set: An affordable entry level option, the set includes our small bottle Student Ink and the OAS Pre-Series brushes. While this ink lacks the overall superior quality of the OAS Best Bottle Ink, and will not achieve the same level of results, it offers an interim step for first timers who want to give brush painting a try before investing in higher quality materials. This ink can be rewetted and reused.

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Hello friends. How are you? There is so much that is on my mind but

“Listening to Kate Bush tonight... https://t.co/4DaTF70RIy … https://t.co/PqKxubQqiD”

For impressionist artist Clair Bremner, the birth of her third child and getting divorced turned her life upside down, but also launched her art career.

Here is a very simple technique for rendering bushes, and can be applies to trees, or other plants. I use this technique more for bushes that are in the background, that you don't want to stand out or don't need much detail. Coloring Simple Background Bushes 1. Start by picking 3 colors. One nice thing about greens is that on a plant you don't need to be as careful about following the Natural blending family, as long as you have a light, middle and dark that aren't too different. Leaves in sunlight tend to look more yellow and bright so I usually pick a light YG in the 00's or 10's with a last digit of 0 - 3 for my highlight, and shadows tend to have more gray, so I go with a G or YG in the 60's-90's with a last digit of 7, 8 or 9 2. Think about the plants around your bush. If your bushes are exactly the same colors as your grass they may look a little strange, so I try to vary the two (I talked about coloring grass earlier). Have some bushes lighter and some bushes darker so people can tell they're not the same kind of plant. 3. Choose a highlight. Usually on top or slightly off to one side. 4. Begin Coloring There are few main ways I do bushes, but the ways I'll cover today are Smooth, Scribbling, or Stippling. The main thing to keep in mind is that bushes are irregular. Individual leaves pick up the light from different directions, but if you try to carefully draw every single leaf on a bush you'll go insane. So my methods are for simple coloring that gives the illusion of complexity without the hard work. Smooth Color with your lightest color first. For smooth blends, layer your next color while the base is still wet, add your next darker color, color back over the edges with your light color, then add your darkest color, again going over the edges with your middle and light colors until the edges disappear. For crisp edges between color layers let each color dry completely and don't go back over the edges with a lighter color each time. Too bad this doesn't look very believable- it's just a smooth lump of green, not really a bush. Scribble Scribble the base color on, since the uneven coloring helps accent the roughness of leaves. Then layer on your midtone, again coloring unevenly, and last add your dark. How much or how little of each color is a matter of personal taste. I like this method because I can leave some spots of white- areas that act as natural highlights, and it's much quicker than smooth coloring. Stippled Dot on your lightest color, leaving lots of white, Add dots of your darker color, and finally finish up with your darkest color. If you are using a Ciao or Sketch marker this is the easiest technique, and you have two options. You can have either round dots by mushing your tip straight down, or you can have individual leaves by using the side of the brush marker. Note: scribbled and stippled bushes will draw your eyes more than smooth bushes. Why? The crisper lines and bright white spots attract our attention more than a smoothly colored bush. So if you don't want the bushes to attract as much attention, leave less white areas and make sure the base color is more muted. Then the parts of your picture you care more about will stand out more. Remember also that our eyes are drawn to things with more contrast. If you don't want people to focus on your bushes then color them with less contrast. Also, if you color something in front of these bushes that has super smooth, beautiful blends and then you have scribbled or stippled bushes in the background it will look strange. In this case you've lost your continuity. It's like the bushes were an afterthought. Combo Here I want the feel of individual leaves, but I want them to not stand out as much, so my first two color layers are smooth, then I dotted on the darkest green. Now you get the feel of individual leaves, but it has less sharp contrast than stippled by itself. This technique was very quick, it goes with more foreground elements than scribbled or stippled only, and is not as fake looking as smooth bushes.

Antique Illustrations relating to children’s prints, including Ida Outhwaite and May Gibbs.

224 pages, Chinese/English Gifted artist of the Ling-nan School, Yang O-shi, captures the dynamic spirit of her subjects with simple, vigorous brush-strokes. She provides detailed descriptions of technique, with sequential instruction and completed illustrations. Subjects include anatomy (head, beak, back, throat, breast, abdomen, wing, tail, foot and claw), the Sisken, Formosan Firecrest, Tree Sparrow, Chestnut Munia, Rufous Fantail Warbler, Great Tit, Narcissus Flycatcher, Rufous-Bellied Blue Flycatcher, Parson finch, White Java Sparrow, Johnstone's Bush Robin, Blue and White Flycatcher, Formosan Yuhina, Mountain Bush Warbler, Alpine Accentor, Gray-Backed Thrush, Red Cross-bill, Gray-Throated Minivet, Greenfinch, Formosan Barwing, Red-Throated Pipit, Green-Backed Tit, Hawfinch, Diamond Firetail, Russet Sparrow, Spotted Munia, Red-Headed Tit, Peking Robin, White-eye, Beavan's Billfinch, Ruby-Throat, Chinese Bulbil, Reed Bunting, White-faced Wagtail, Woodpecker, Bush Warbler, Brown Shrike, Ashy Minivet, House Sparrow, White-Eared Sibia, Eye-Browed Thrush, Arctic Willow Warbler, Lesser Scimitar-Babbler, Black-Napped Oriole, Muller's Barbet, Japanese Waxwing, Common Kingfisher, Meadow Bunting, Yellow-Bellied Wren Warbler, Java Sparrow, Red-Headed Babbler, Rufous-backed Shrike, Red-Cheeked Starling, Amaduvade Finch, White's Ground Thrush, Crested Cockatoo, Large-Billed Crow, Hoopoe, Jay, Cuckoo, Crested Mynah, Chestnut-Fronted Macaw, Crested Cockateel, Oriental Turtle Dove, Gray Tree Pie, Black Bulbil, Finch-Billed Bulbil, Hill Mynah, Blue-Winged Pitta, Black Paradise Flycatcher, Formosan Blue Magpie, Ashy Starling, Magpie, Spotted-Neck Dove, Dove, Water-Rail, Black-Crowned Night Heron, Avocet, Little Egret, White-Fronted Goose, Water Pipit, Rufous-Necked Stint, Long-Tailed Pheasant, Mandarin Duck, Mallard, Whooper Swan, Japanese Crane, Goose, Cattle Egret, Pygmy Owl, Mountain Scope Owl, Gray-Faced Buzzard Hawk, Black Kite, Rooster, Chick, Ring-Necked Pheasant, Formosan Hill Partridge, Golden Pheasant, Common Quail and White Peacock.