For the past few weeks I have been going to a workshop on the "Nude in Perspective".
This week our task was to use white conte pastel or chalk on a black or dark piece of paper. I used pastels a few years ago and didn't like them much. They left my hands feeling all dry and chalky and I went through a lot of hand cream. So I wasn't really looking forward to the class.
Tanya, the model was lying down on a white sheet facing me with her abundant red hair tumbling over her right arm and her leg crooked beneath her. It was an interesting pose.
I took a deep breath, banished all negative thoughts and studied her intently for about 15 minutes before I began to mark out the paper, using a paintbrush to get a perspective. The angle of the foot presented a challenge, but I kept calm and stayed in the moment.

Eventually I began, working much slower than I usually do, deliberately stroking the chalk lightly over the surface, getting used to the old familiar scratchy feeling of chalk on paper. I began to relax and enjoy the sensation, taking pleasure in the form and medium, the play of light on the sensuous curve of the navel and the nice straight arm providing the composition with structure. Tanya was lying on a sheet which was the highest key colour. Using only white, I was careful to leave the dark areas on her body completely black, with just a few tiny dots of conte sprinkled around to suggest the form. The high key areas were on her back and shoulder, a little on the curve of her calf and along her arm and I used quite a heavy hand here to emphasise the light areas. I was hardly aware of time passing and it felt like a meditation as I kept my mind clear and concentrated.
We had a short break for tea and then I had just half an hour to finish off.
When I finally stepped back I was quite pleased with what I saw on the paper. Here she is - Tanya in white on black.

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Photography is way of object that reflects your observations from focus of light. It’s a simple type of object that is created by drawing rays and intensity of light.
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Shyam Sharma, a nationally acclaimed artist had his 29th solo exhibition on 17th April at Art Desh the studio, Tardeo with 15 paintings on display. At the launch of his exhibition which will be on till 26th April among the celebrities were actor Aanjjan Srivastava, Kapil Khadiwala, Subhash Ghai's discovery Vikrant Chaturvedi, Swatantra Kumar from Subhash Ghai's Yuvraj, Preeti Jain and Gaurav Chanana. Gary Richardson, Ganesh Venkatraman and Tarana Singh performed a 8minute interactive comedy skit 'Got to be Love!' and Madhusudan gave a splendid seven minutes Sitar performance



Senior artist Prithvi Soni inaugurated the show lighting the lamp with actor Aanjjan Srivastava. The other artists Amisha Mehta, Gautam Patole, Reena Patel, Surendra Jagtap, Raghu Neware and M Shankar were present to support their colleague.



"Shayam Sharma is a man related to earth and simple in nature. His simplicity is witnessed in his work. More than a painter he is a complete human being a good friend." says Prithvi Soni.



Shayam Sharma, who was overwhelmed with the response he got, said about his exhibition "Spritual Synthesis is a collection of figurative 15 paintings on Lord Buddha and Krishna and our simple day-to-day life. In my work the texture is always important."



Shyam Sharma - interview



'An ant may work its heart out, but it can't make money.' The proverb became wrong for the smallest member of a farmer's family from Lakhimpurkheri, when he supported his family and elder brother's study expenses by working in a shop and continued his studies too.

Shyam Sharma stands tall in proud when he puts his life story in the picture.

His sacrifices and hard work showed result soon, when the elders realised and supported him pursue his dreams in Arts – after he completed his BFA degree he completed AMT (Art Master Training) 2year Diploma and one year training in pottery design.

Then the struggle of making a place in the field of art for himself started. At night he did commercial work and day time made paintings. Shyam participated in the All India painting Camp. After this, his first solo exhibition held at Jehangir Art Gallery in Mumbai. He got Ghari scholarship from National Lalit Kala Academy. He shifted to Delhi and settled there.



From whom you inspired to become a painter? How did it happen?

I was passionate about art from my childhood, but am deeply inspired by my elder brother who was also a painter. Sadly, he is no more with me now but I always follow his footsteps and his guidance which given me strength to become a painter.

What are the mediums you work with?

I work in different mediums like crayons, oil pastels, black ink and Water colours etc. but my recent works are with oil on canvas. Painting is almost like meditation for me. I plan my painting according to the subject I am working on. I sit in front of a blank canvas and draw the sketch and fill the colours light and dark shades, depth, tone in textures according to my choice.

Which genre of artists do you belong to?

I would like not to belong to any genre. Artists are unique and never static. I would say that my style of work is a combination of modern generation, semiabstract, and figurative simplicity.

How do you see today's artists in comparison to the veterans?

Every artist is unique but according to time their experiences reflect on their work, which makes all the difference. Well about the art scenario in India, the art is gone global and became an investment. Today's artists are more aggressive towards everything from creating the art to selling it. In past, most of works were done in realistic and photorealistic and those artists were still discovering new ideas in still life or portraits; where today its simple modern or contemporary.

How would you like to comment on art education in our country?And how can it be improved?

I think the art education is not quite good in India, as there is a basic problem with the root level of education system and is needed to be changed. According to me, education should be such that students should able to express their creative approach and potentiality fully. But I personally think that art is a talent which you are born with and it can't be taught.

Why only a few have made it to international market?

It is only because the policies of the galleries and the corporate houses promote big names and senior artists only.

How important is colour scheme in each painting? And the mood of the artist?

Each colour has a deep impact on human mind. There are no set rules for creating colour scheme. It basically depends on the artist what he thinks, his perception towards the subject. The artist's mood is definitely important for the work. Happy mind makes happy paintings.

What would you say about the current art scene in India?

In the time of globalization, corporate sectors and private galleries plays a very important role in the art scenario. They have made art absolutely global. The corporate sector gives national- international buyers who are purchasing paintings from artists. This helps to set up prices and correct evaluation of art. And Indian paintings are and will always be in demand.

Tell us about your future exhibitions. How many exhibitions have you had till now?

I have had about 28 solo show as yet and 40 group show with many senior artists in various prominent galleries in India. With my active group, am planning a group show in this year. I am participating in a camp which will be organised by private collectors in the next month. I have thought of a new subject but it is too early to disclose about it.

What do you do when not painting?

In free time I meet my colleagues and go to the exhibitions. I am a very family family man… so most of the free time I spend with my sons and wife.

Where and how do you see yourself in the future?

I see myself in the future as a successful international painter like every artist dreams and that people would appreciate my work and collect it.

How do you see life and its facts as an artist?

I have seen my life as a creator who creates the life and fills them with colours and according to my view life is a continuous journey where is there is no beginning and no end.

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The Saatchi gallery, opened by Charles Saatchi in 1985, is a London gallery for the exhibition of contemporary art. It is one of the best venues known for young and fresh artist to express or expose his/her work to the world. Works of local and international sculptors, painters, photographers and multimedia artists are displayed in this gallery. Saatchi gallery also introduced the open-access section, well-known as Your Gallery, where artists can upload arts and biographies onto their own page. On a given year over sixty million visitors around the globe access this venue using it as a medium of expression and acquiring knowledge. Furthermore, a tally reveals that there have been 1,000 school visits. Isn’t it jaw dropping? This gallery aims to encourage the art professionals and also holds valuable source of information for upcoming art fairs and exhibitions.

With its increasing popularity and people’s keenness towards art new moves have been adopted to notch up success in higher level. The gallery is presently refurbishing a 50,000-square-foot space to make it more spacious for art lovers. The architecture capacitates to enfold a bookstore, a coffee shop and also education purpose room for students inside the newly built building. Saatchi Gallery stands apart from conventional laws of art and based upon the principle of egalitarian approach which directly inspires the art connoisseurs. This London based gallery is open for every age and interest group and efforts are made to prop new and previously unexhibited artist and acts as a springboard for their careers.

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You wedding day is one of the most important milestones of your life! You spend a fortune on flowers, stationary, place cards, a gorgeous wedding dress, a make up artist and so much more. Your personality, your style, who you are goes into those details.. maybe you like elegance or maybe you like dots and stripes and lopsided cakes. Whatever, and whoever you like there is a wedding photographer out there for you. There are photographers who shoot in different styles that would do a more adequate job capturing your day the way your envision.

The most popular styles of wedding photography in today's market are...

1. Photojournalism
Photojournalism is the art of capturing moments unobtrusively. Normally you barely know that the photographer is there. He/She normally covers weddings with large telephoto lenses (although not always) and tries not to get in the way of the story as it unfolds. They normally don't like shooting posed family photographs or posed bride and groom photographs preferring to capture moments as they really happen. This style of photography takes mastering. The photographer needs to know their equipment extremely well and it basically needs to be an extension of their body. If you are going to hire a photojournalist make sure that they person has many years of experience as it is a difficult and artistic method of photography.

2. Illustrative
This photography is usually a creative person who loves design and elements of color and texture. This person will pose in new and different ways, maybe laying the bride on the floor or shooting from strange angles. The photography will set up fun posed shots and instead of just posing and shooting they will have the subjects interact together to capture spontaneous moments. This style of photography brings more of the photographer into the photography. This photographer's artistic vision and use of lighting, design elements and texture is more artistic. They do not just wait for things to happen and capture them. They will often makes things happen.

3. Traditional
Although traditional photography still has it's place in the modern photography world it is being pushed aside by more illustrative and photojournilistic styles of shooting. You see more traditional photographers that are older and have been in the industry a long time and have not changed their ways or you will see it in the lower end beginners as it is any easy style of shooting that does not take much creative input. Tradition style photography is posed and can follow a photography list. It is stiffer in it's style and does not allow for mush spontaneity. This is sadly a dying breed. Although most photojournalists and Illustrative photographers still do some posed photography especially during the posed family shots with the bride and groom. So it still has its place.

The best photographer is a photographer that has the ability to shoot photojournilistic and can capture most of the day as quickly and masterfully as a true photojournalist but that will still give you the fun artsy look of an illustrative photographer. Someone that will prompt some fun stuff and still be able to do posed family shots for mom.

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As we all know that no one is born a talented artist. Even many of the famous artists have acquired their skills with the brush and perfected it for so many years to reach the peak of success. If anyone get inspire to create a beautiful painting on a white canvas, it means its an addictive hobby, and then suddenly that inspiration start getting converted into shape, figure, emotion, expression in numerous colors.

To know more about art one needs to understand ART first. What is art? In simple words art is the use of skill and imagination for the works of art. Art can be a basic form of communication. Just as a dancer sways to a rhythm or beat, an artist picks his brush to color an unfruitful white canvas to make it fruitful.

We all know that we have a budding artist within us. We never try to explore it; we hide our skills, never give chance to give it a platform. Art is really so simple that it does not require any specific qualification, any fixed age or any

privilege skill to start with.

All what we need is the time and our own ability to nurture it. One can start learning art at any time. Art can be a good exercise to relax our selves. Art is the way from which we expressed our feelings, ideas, skills, imaginations, and oncepts on a peace of canvas.

Art have so many forms like drawing, sketching, painting, scribbling etc. Many talented people take their art form to another aspect and create unique paintings.

Now learning about Art is extremely easy. Slowly developed it as a hobby, art can easily become a profession. By reading this you may arise with a question??Question is …….

Can Anyone Become An Artist?

Yes, according to me anyone can become an artist. What we need is the proper medium which can help us to create works of art, the right use of pencil, pastels, watercolors, charcoals, oil paints and acrylics. Select the subject, any subject that give pleasure to your eye is just right for your painting. It could be a nature, scenery, photograph, animal, any other painting, just about anything, which pleases your creativity in first attempt.

This is your chance to explore yourself, make a space in the world of art, and bring out your true spirits for art.

How to start with?

1. You can join any art classes, any short term courses in university near by you or join any painting workshop.

2. Chose a subject that inspires you to create a beautiful painting.

3. Don’t get disappointed even if you are not able to do the painting as per the subject, but try to make it.

4. See the subject from all the angles, Just don’t sketch out everything that has to be painted.

5. For the first attempt you may feel little bit bore, but slowly you will get into it and you will gain interest.

6. while drawing keep your mind open, will help to learn so many new things

7. In painting you can use your imaginative colors. For example grass is green but it could be red or yellow too. Sky is blue but it could be orange, grey, or any other color.

8. Painting will give you the excitement but it is not always possible that you will complete the work within a day.

9. May be you would jump on another subject, simultaneously in the meanwhile.

10. Keep good focused on the painting, anytime you may feel that your interest is fading at that moment leave it for sometime.

11. As such there is no deadline to finish a painting. It is not a job which should get completed in between nine to five.

12. Use eyes and hands to draw. Do not go by the mental image that forms in the mind. You will never get it exactly the finish.

13. Try to be keep teacher around you to help in areas where you are likely to be stuck.

14. It is not necessary that everything will go right at the first time. Sometimes you may waste time and some art material but then you will learn more and generate more good art pieces.

15. Painting is always learnt through trail and error

16. So don’t give up yet if it has not worked out. There is always a new subject to work on.

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There are so many art exhibitions around that sometimes your own exhibition can get overlooked. When organising your next exhibition use your opening function to create something interesting and innovative. By coming up with an imaginative hook or angle you will be assured of getting more visitors through the door.

The majority of sales happen during the opening function therefore take full advantage of this opportunity to maximise dollars. Entice as many guests as possible to your event to increase your chances of sales by both shear numbers and by creating an illusion of demand.

Increasing visitor numbers can be achieved simply by having a drawcard at your opening function, such as inviting a VIP guest, having an unusual and interesting hook, unveiling a special artwork, or holding a competition.

1. VIP Guests

Everyone wants to meet someone famous. So inviting a VIP guest to your opening function is a sure way to get people to attend also. By association your visitors will automatically view your event as something special and important too -- just like your VIP. If you don’t know anyone well-known ask your friends, family or work colleagues for contacts. Someone is bound to know a sports celebrity, actor, musician or politician.

During the event make your VIP feel important and special. Offer them refreshments, introduce them to other important guests, and mention them warmly during your speech. A few days after the opening function follow up with a letter of appreciation.

2. Interesting Hook or Angle

With a little imagination and creativity you can make your opening function really special by adding an interesting hook or angle. Perhaps you can adopt an unusual hanging method to display the artworks; incorporate an interactive art installation which guests can ‘play’ with; include a multi-media display using video or sound; or hire a live jazz band to create atmosphere and ambience.

Art exhibitions can become very flat and static, so adding an extra dimension can be very beneficial. Not only will you increase visitor numbers, but you guests will see you as an interesting, innovative artist and perceive your artwork as a worthwhile investment.

3. Artwork Unveiling

Turn your opening function into an extra special event by unveiling an extra special project. This will create anticipation and excitement as your guests wait for the presentation to take place. You could unveil a major artwork which you have spent a lot of time on, something you have prepared for a special charity cause, a collaborative project that many artists have participated in, or a memorial piece to acknowledge a worthy event or person.

Create maximum impact and splendour by rigging up a curtain in front of your artwork. Attach lengths of ribbon to the curtain so it can dropped at the precise moment to reveal the master piece to your eager audience.

4. Competition

People love getting something for free so a competition is a sure-fire way of getting people to attend your opening function. Start the competition at the beginning of the evening and finish it at the end. This will encourage your guests to stay longer, which will in turn increase your chances of additional sales.

Be imaginative with the competition question. Consider your exhibition theme, use wit and humour, and incorporate logic and problem solving into your question to really get the conversation going. At the end of the evening get your VIP guest to announce the winner and present the prize.

By using a little imagination and creativity at your art exhibition opening function you can increase visitor numbers, enhance sales, create interest, and generate enough excitement to ensure guests come back again for the next exhibition!

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So you have decided to start scrapbooking.  This is such an exciting time!  You have done the research, watched some of our tutorials, gone out and purchased everything you think you could possibly need and are now ready to get started on that first project.  The problem is there is no room left to actually do the work because your supplies are everywhere!  A good idea for scrapbooking is getting organized.

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The first thing you will need is storage containers to put all of your scrapbooking supplies in.  You can find all kinds of different containers at your local scrapbooking store, craft store, and sewing store.  Make sure to check out your local hardware store as well.  You can find great containers in the tool box section and even in the fishing/tackle box area. 

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Now that you have that done, next on the list is shelves.  As we already discussed, you will have many different shapes and sizes of containers containing all of your odds and ends for scrapbooking, but if you don’t have shelves to put them on then they will still be all over the place using up your precious work space.  Make sure your shelves are sturdy or you will not be able to put much on them.  As you start out, you may not have very much in the way of supplies but trust me they will be overflowing in no time.

Many of us like to get together at a friend’s house for scrapbooking, and lots of times the local scrapbooking store will have monthly meetings or give how-to classes that you would like to attend.  If you think you would like to take your scrapbooking supplies with you when you leave the house then you will want an easy way to do that.  You do not want to be leaving a trail of your prized materials behind you as you go.  Also remember to take just what you need.  I know that is hard to do sometimes.

Again, check out the scrapbooking stores, craft stores or sewing centers for a large enough bag to hold everything you will want to take.  Get creative with a tackle box or knitting bag.  Try to label everything you take with you, especially your tools, so that they do not get mixed up with anyone else’s. 

One of the best ideas for scrapbooking supplies that we came up with is one of the newer tackle boxes with the soft sides and the plastic divided containers that fit snug inside.  They usually fit 4 or 5 containers and also have pockets on the outside.  We purchased extra containers and just set them up on our shelves at home.  When we want to take our stuff with us, we just grab the ones that you need, put them in the tackle box and away we go.

We cannot say it enough.  The best idea when it comes to scrapbooking is getting organized, and the most important thing to know when it comes to staying organized is to pick a system that works for you and stick with it.  Color, sizes, themes, patterns; it doesn’t matter how.  All that really matters is that it works for you, that it is organized in a way that you can easily find what you are looking for and that it gives you that all important space you need to be your creative self.

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So you have decided to start scrapbooking.  This is such an exciting time!  You have done the research, watched some of our tutorials, gone out and purchased everything you think you could possibly need and are now ready to get started on that first project.  The problem is there is no room left to actually do the work because your supplies are everywhere!  A good idea for scrapbooking is getting organized.

To make sure you have enough room for you, the most important one, you need to take extra steps to get your stuff organized.  In the long run, it will save you time, leaving you free to work, get inspired, be creative and of course, do more shopping.

The first thing you will need is storage containers to put all of your scrapbooking supplies in.  You can find all kinds of different containers at your local scrapbooking store, craft store, and sewing store.  Make sure to check out your local hardware store as well.  You can find great containers in the tool box section and even in the fishing/tackle box area. 

Another source for great containers is your own home.  Jars of all sizes come in handy as do small boxes, bowls and even baby bottles.  You can also use old jewelry boxes, tool boxes, and tackle boxes.  Anything that will help separate bits and pieces and is easy to get into will work so be creative and let us and others know what you have come up with. 

Now that you have that done, next on the list is shelves.  As we already discussed, you will have many different shapes and sizes of containers containing all of your odds and ends for scrapbooking, but if you don’t have shelves to put them on then they will still be all over the place using up your precious work space.  Make sure your shelves are sturdy or you will not be able to put much on them.  As you start out, you may not have very much in the way of supplies but trust me they will be overflowing in no time.

Many of us like to get together at a friend’s house for scrapbooking, and lots of times the local scrapbooking store will have monthly meetings or give how-to classes that you would like to attend.  If you think you would like to take your scrapbooking supplies with you when you leave the house then you will want an easy way to do that.  You do not want to be leaving a trail of your prized materials behind you as you go.  Also remember to take just what you need.  I know that is hard to do sometimes.

Again, check out the scrapbooking stores, craft stores or sewing centers for a large enough bag to hold everything you will want to take.  Get creative with a tackle box or knitting bag.  Try to label everything you take with you, especially your tools, so that they do not get mixed up with anyone else’s. 

One of the best ideas for scrapbooking supplies that we came up with is one of the newer tackle boxes with the soft sides and the plastic divided containers that fit snug inside.  They usually fit 4 or 5 containers and also have pockets on the outside.  We purchased extra containers and just set them up on our shelves at home.  When we want to take our stuff with us, we just grab the ones that you need, put them in the tackle box and away we go.

We cannot say it enough.  The best idea when it comes to scrapbooking is getting organized, and the most important thing to know when it comes to staying organized is to pick a system that works for you and stick with it.  Color, sizes, themes, patterns; it doesn’t matter how.  All that really matters is that it works for you, that it is organized in a way that you can easily find what you are looking for and that it gives you that all important space you need to be your creative self.

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When it comes to framing and matting supplies, there are several different products you’ll need in order to do the job properly. A good framing job not only makes your artwork or photography look better, it also protects the artifact from becoming damaged or faded because of various environmental factors. As with almost anything else, it’s important to make an investment in the best framing and matting supplies you can afford.

Mount board is where it all starts; the quality of the mount board can make or break your framing project. This is what holds the artifact (the painting or the photograph rigidly in place. Acid free mount board is vital, particularly when it comes to archival quality works of art. The problem with some cheaper varieties of this material is that the acids can interact with other environmental pollutants and leech into your image, causing discoloring. This is one of your most basic and important framing and matting supplies, so make sure that you are using high-quality, acid-free mount board.

Mat board is another important consideration when putting together photo frames. This is used to provide a barrier between the artifact and the glazing, or clear covering. The problem is that if your picture or photo comes in actual physical contact with the glazing material, it can cause substantial harm, Mat board provides an air space that does two things: it prevents the buildup of damaging moisture inside the glass, and it allows room for the artifact to expand and contract as temperatures and room conditions fluctuate. Again, it is in your best interests to spend as much as you can to get the best archival-quality mat board that you can afford.

Anything that is true of traditional art framing goes double for photo framing supplies. Although paintings are delicate, the chemicals that are used to produce photographic images can interact with substances in the environment in all sorts of ways that can damage the image or cause it to fade. In investment in good quality photo framing supplies is an investment in the protection of your images.

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There are so many art exhibitions around that it is essential to make your exhibition stand out from the crowd. One way to achieve this is by having a drawcard to attract visitors. An interesting and successful idea is to create an interactive art installation at the venue to entice visitors into the exhibition and to engage them with participation.

An interactive art installation is usually a large sculptural piece specifically created for the event which the audience can use, play with, interact with, influence, solve and/or manipulate in some way. Their participation allows them to experience a result of some kind. This adds an additional dimension to their exhibition experience and is particularly successful if your installation is unique, fun, challenging or enlightening in some way.

When designing your art installation consider the overall theme of your exhibition, your intended target market, and the available facilities at the exhibition venue.

Exhibition Theme

It is important to make your art installation and art exhibition theme cohesive. If your audience cannot see a logical connection between them your drawcard may not be as successful. Therefore give plenty of consideration to this aspect of your idea. For example, if your exhibition theme is ‘Urban Landscape”, choose an industrial type installation using inorganic materials, hard shapes and modern fittings.

Other questions to ask yourself when designing your art installation are the possible results of audience participation. Do you want them to have a unique experience, or a pre-determined answer? Are you trying to make a statement, tell a message relating to your theme, or do you want your audience to come up with their own conclusions? These questions will help you to refine your idea and create a installation that best suits your exhibition.

Target Market

Tailor-make your art installation to your target market for maximum success. This is important in all areas of business marketing and your art exhibition should be no exception. A target market is usually defined as demographics such as age, gender, geography and socio-economic group.

If your audience is predominantly young middle class college students, your installation should be young, fresh, innovative and modern. On the other hand, if your target market is mainly elderly, upper class art investors you would approach both the exhibition and your art installation in a totally different way. Ask the venue what their customer demographics are in order to give yourself the best start.

Exhibition Venue

When creating your art installation it is very important to consider the venue in every aspect of the design. Visit the exhibition space and plan out the shape and size of the area available to you. Take lots of photographs, capturing every angle. Use a long retractable tape measure to take measurements of the room, noting the dimensions of the walls, including ceiling to floor height. Measure and record the size and locations of all doorways, windows, pillars, permanent light fixtures and electrical sockets. Take particular note of the main entrance way and how the audience will move around the installation.

Finally, ask the venue what resources they have on site, such as ladders, plinths, partitions and portable lighting. These will come in handy for your installation, and may cut down construction or display costs. Whether you are using props and equipment belong to the venue, supplying your own, or hiring them, ensure they are safe to use. This is particularly important if using electrical appliances such as portable lighting. Your audience safety and well-being is paramount.

An interactive art installation can become a value asset to your next art exhibition by making it stand out from the crowd. With just a few important design considerations you can maximise its promotional potential and make your exhibition a huge success.

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Photo framing supplies are one of the essential tools relied upon by photographers and artists. Photo frames may seem like an insignificant afterthoguht, but to a photographer or painter, who has spent a lot of time honing their skills in order to produce the most pristine examples of artwork, this is not to ovelooked. Clearly, the experience of any artwork should not be cut short because of scrimping on photo frames and picture framing supplies that were used. It is easy to frame your own photographs and pieces of artwork, and set each piece of art off to its own distinctive advantage. Here are some examples of the types of photo framing supplies that you might use. You will want to note that all of these art framing supplies are available as picture framing kits for your convenience.

Photography Frames

These picture framing supplies come in two styles: metal and wood. Metal frames are traditionally used to frame photographs because they are composed of thin black metal and do not detract from the artwork within the frame. Many galleries find these photo framing supplies to be a consistently attractive way to show off a room full of photographs. Wooden frames are often used to encase paintings, and can be stained in tones to complement or contrast the artwork they surround. Photography frames such as these are available online as part of picture framing kits or sold separately.

Include Anchors As Part Of Your Photo Framing Supplies

Most artists attach their artwork to the mountboard in some fashion in order to keep the artwork in place within the frame. Art framing supplies such as mount board, upon which the art is placed, and mat board, which lies on top of the artwork, should be made of acid-free materials. This is especially true concerning art that is made using paper, because acids can create brown marks on the paper that may not be able to be removed by cleaning. By using acid-free photo framing supplies, you help to eliminate this problem.

You can use picture framing supplies like photo corners, hinging tissue, or spray adhesive mounting to attach the artwork to the mount board. Picture framing supplies such as spray adhesive provide a permanent way to mount the artwork, but are difficult to remove if you ever want to change out the mount board. A less permanent, and in some instances less harmful to the artwork itself, solution is to use tiny triangular photo corners or hinging tissue. These attachments allow for the contraction and expansion of the art within the frame, which helps prevent buckling that can damage a piece of artwork.

Use only the best quality supplies for framing your cherished photographs and works of art for long-lasting beauty.

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When a balloon twister is hired to entertain kids at a party, they're going to need to know their balloon animals.  Most all kids will want the balloon twister to make them a bunny rabbit or a wiener dog.  That's the ones that the kids know the best and want to see over and over again.  So when you decide to become a balloon twister, making balloon animals is something that you will need to know most of all.

The most common balloon animal that kids are going to want to see is a wiener dog or a dog of some sort.  Most like the wiener dog because they think it's funny to have the long body and tiny legs.  When you go to make a wiener dog you will need to start off with a “260” balloon that is the color of your choice.  A “260” balloon is a type of balloon that is 2” in diameter and 60” in length when completely blown up.  So if you take the 2 + the 60 and push them together you will get the 260.  This let's you know how the balloons are numbered. 

So now that you have the “260” balloon in the color of your choice, you will need to inflate it, leaving about a 4” tail.  It is necessary to leave that tail so that when you start to twist you have room for the air to move about.  Otherwise the balloon could pop when you just about have your wiener dog ready.  That is something that when making balloon animals, no kid wants to see.

With your balloon now completely inflated and its 4” tail hanging, grab hold of the tied off end and go back about 4” and pinch off the balloon.  Now twist the balloon around at that point about two or three times.  This will create the snout of your puppy.  Be sure to not let go of your balloon as the balloon will become all untwisted and you'll have to start over again.  Keeping your hand on the snout, move your other hand up the balloon another two inches and then pinch and twist like you had done before so that you have created another bubble and still don't let go.  Make another bubble the same size as the one you just made as this will form the ears.  Remember, you still can't let go of the balloon until you have locked the ears in place.  To do that you will fold the balloon right between the two ear bubbles that you have created.  They will need to be lying next to each and twist the first and third twist around one another approximately two or three times.  By doing this you are locking the ears so that they won't go flying apart once your hand leaves them. 

Now that you have created the head and ears, you will repeat the same process you just completed throughout the rest of the dog.  You will go down a little bit and create the neck bubble, the front leg and front leg number two.  You will twist them just as you did the head, ears and snout.  To lock the front legs you will need to twist the neck bubble and front leg one and two.  Once you have completed that, leave a few inches to make the body.  Then start the same process you used with the ears and snout so that you can create the back legs both one and two.  You will lock the legs together as you have the other two portions of the body.  This should leave you with a tail for your little puppy.  It's hard to proportion the puppy the first few times that you create the puppy but with practice comes perfect.  The more that you practice making balloon animals the better you will get. 

Making balloon animals is something that many people love to see.  And so anyone that likes to entertain while making forms of art, making balloon animals might just be for you.

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Photography is way of object that reflects your observations from focus of light. It’s a simple type of object that is created by drawing rays and intensity of light.
This can be done with camera. Camera is a device which helps to capture things on media which can then be converted onto paper of digitized. There are many types of photography accessories like camera, photo cards, Quick Cards ,Canon Camera Rain Cover, Camera Rain Cover, Rain Cover, Nikon Rain Cover, DSLR Rain Cover, Photography Cheat sheets, Photography Cheat Sheets, Photography Guide, Photography Tips, Camera Cheat sheets, Camera Bean Bag, Camera Accessories etc...

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With the new era of digital cameras, photography has become much more common. Almost anyone can afford a camera and most have one. Even many cell phones have a digital camera. While most new cameras are also quite easy to use, there are still many areas in photography where you need to have the knowledge to succeed.

These are some of the most common mistakes made by new digital photographers. If you are an unpracticed photographer, you should try to at least avoid these mistakes.

1. Poor Camera

This is by far the most common mistake these days. Many cheap digital models are only good for either landscape or closeup photographs due to their poor focus. Know your camera: what it can do and what are its limitations. A $200 model should never be used for professional photography.

2. Lighting

Another common mistake is to forget lighting or believe the camera takes care of it all. You will seldom get as good images in dark conditions with a cheap flash than you could in plentiful natural lighting.

3. Cropping

While it is much easier to see what gets in the photo with today's LCD displays than with an old-fashioned seeker, there are still plenty of mistakes you can make. One thing to remember is that you can crop the image on your computer. That means you will most likely want to include too much space around than too little.

4. Zooming

There are so make things that can go wrong with zooming. The number one thing to keep in mind is to always avoid using the digital zoom. It is a feature found in many cheap digital cameras that basically has the same result as cropping the image on your computer. If you need zoom, only use the optical zoom.

5. Camera Settings

If you are not sure about the settings in your camera, it may be best to use the defaults. If there are several modes, the 'auto' mode is usually the easiest to use. You should take care that you use a good format to save the images. Often the high detail mode with the highest resolution should be used, if you are not short on memory.

The bottom line is: if you are serious about photography, you must practice it. Digital photography does not differ much it that sense.

If you do not learn the skills in advance, you are going to have to learn them the hard way, and that will probably mean making these mistakes and more. It can also mean tens or hundreds of lost photos - shots that could have been excellent had you not made a simple mistake.

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Naruto is an anime and manga series created by Masashi Kishimoto centered around a loud, hyperactive, young ninja who is in a constant search for both approval and recognition, and with a great aspiration to become Hokage. First published as a manga series in Japan by Shueisha in the 43rd issue of Shonen Jump magazine in November 1999, the Naruto series has risen in popularity exponentially and has since been licensed in the USA (becoming VIZ Media's top selling title) and nearly two dozen other countries, with the anime series currently airing in 18 countries.

Twelve years before the start of the series, a Kyuubi (nine-tailed fox demon) attacked the Hidden Leaf Village. A swing of one of it's mighty tails could raise tsunamis and flatten mountains, chaos reigned throughout the village as it killed many people, until the leader of the Leaf, the Fourth Hokage, defeated it by sacrificing his own life to seal the demon inside a new born child, that child is Uzumaki Naruto. The Fourth Hokage would forever be celebrated as a hero for sealing the Kyuubi and saving the entire village. It was his wish that Naruto would also be respected in the same way he would be, however, this was not the case. Everybody in the village avoided Naruto, regarding him as nothing more than the evil demon fox. The Third Hokage made it a rule within the village that other villagers were forbidden from mentioning this event to anyone, even their own children, however because of the way their parents treated Naruto, they mistreated him as well throughout most of his childhood.

More on anime can be found here:
http://www.animewallpaperz.net

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Many people avoid photography as a hobby because they are concerned about its cost, although it doesn’t necessarily have to be expensive. That is why this article focuses on how to do lighting for your home photography studio cheaply and quickly. We’ll create a studio that doesn’t require any external fancy lighting, strobes, or those expensive soft boxes. If you just want to experiment with some still life photography, or even if you need to take some shots for your business, this article is perfect for you.

 

Of course, this will not give you professional quality pictures, but it will provide you with a good alternative to start exploring studio-like pictures. You can still get good background for your pictures, pictures with little shadows, and good, even light.

 

The simple studio we’ll construct utilizes a huge, inexpensive soft box and a seamless backdrop. You will need to collect the following materials:

 

• A sunny day and a shady location (a porch will do)








• A wall/table/chair/fence








• A few inches of Duct tape (or just any tape)








• A thick, A0 sized, sheet of paper (you can use polypropylene sheets because they are more durable and can be cleaned )

 

 

 

 

 

First, find a nice, shaded place on a clear, sunny day. Your porch is a good spot, and so is your back yard. Second, you will need a wall, or a chair or anything you can lean your professional backdrop (A.K.A. piece of paper) against. Third, tape the paper to the wall, table, chair, or fence and fasten it to the ground. And, voila! Your seamless backdrop is installed. All you need is a model.

 

Try varying the pictures by using several sheets of paper and polypropylene, each with a different color. This will give you instant multi-color backdrops.

 

Do some other experimenting with your still life studio. Now that you know how to do cheap lighting for your home photography studio, you can feel free to try different things and keep learning.

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There are so many art exhibitions around that sometimes your own exhibition can get overlooked. When organising your next exhibition use your opening function to create something interesting and innovative. By coming up with an imaginative hook or angle you will be assured of getting more visitors through the door.

The majority of sales happen during the opening function therefore take full advantage of this opportunity to maximise dollars. Entice as many guests as possible to your event to increase your chances of sales by both shear numbers and by creating an illusion of demand.

Increasing visitor numbers can be achieved simply by having a drawcard at your opening function, such as inviting a VIP guest, having an unusual and interesting hook, unveiling a special artwork, or holding a competition.

1. VIP Guests

Everyone wants to meet someone famous. So inviting a VIP guest to your opening function is a sure way to get people to attend also. By association your visitors will automatically view your event as something special and important too -- just like your VIP. If you don’t know anyone well-known ask your friends, family or work colleagues for contacts. Someone is bound to know a sports celebrity, actor, musician or politician.

During the event make your VIP feel important and special. Offer them refreshments, introduce them to other important guests, and mention them warmly during your speech. A few days after the opening function follow up with a letter of appreciation.

2. Interesting Hook or Angle

With a little imagination and creativity you can make your opening function really special by adding an interesting hook or angle. Perhaps you can adopt an unusual hanging method to display the artworks; incorporate an interactive art installation which guests can ‘play’ with; include a multi-media display using video or sound; or hire a live jazz band to create atmosphere and ambience.

Art exhibitions can become very flat and static, so adding an extra dimension can be very beneficial. Not only will you increase visitor numbers, but you guests will see you as an interesting, innovative artist and perceive your artwork as a worthwhile investment.

3. Artwork Unveiling

Turn your opening function into an extra special event by unveiling an extra special project. This will create anticipation and excitement as your guests wait for the presentation to take place. You could unveil a major artwork which you have spent a lot of time on, something you have prepared for a special charity cause, a collaborative project that many artists have participated in, or a memorial piece to acknowledge a worthy event or person.

Create maximum impact and splendour by rigging up a curtain in front of your artwork. Attach lengths of ribbon to the curtain so it can dropped at the precise moment to reveal the master piece to your eager audience.

4. Competition

People love getting something for free so a competition is a sure-fire way of getting people to attend your opening function. Start the competition at the beginning of the evening and finish it at the end. This will encourage your guests to stay longer, which will in turn increase your chances of additional sales.

Be imaginative with the competition question. Consider your exhibition theme, use wit and humour, and incorporate logic and problem solving into your question to really get the conversation going. At the end of the evening get your VIP guest to announce the winner and present the prize.

By using a little imagination and creativity at your art exhibition opening function you can increase visitor numbers, enhance sales, create interest, and generate enough excitement to ensure guests come back again for the next exhibition!

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There are so many art exhibitions around that it is essential to make your exhibition stand out from the crowd. One way to achieve this is by having a drawcard to attract visitors. An interesting and successful idea is to create an interactive art installation at the venue to entice visitors into the exhibition and to engage them with participation.

An interactive art installation is usually a large sculptural piece specifically created for the event which the audience can use, play with, interact with, influence, solve and/or manipulate in some way. Their participation allows them to experience a result of some kind. This adds an additional dimension to their exhibition experience and is particularly successful if your installation is unique, fun, challenging or enlightening in some way.

When designing your art installation consider the overall theme of your exhibition, your intended target market, and the available facilities at the exhibition venue.

Exhibition Theme

It is important to make your art installation and art exhibition theme cohesive. If your audience cannot see a logical connection between them your drawcard may not be as successful. Therefore give plenty of consideration to this aspect of your idea. For example, if your exhibition theme is ‘Urban Landscape”, choose an industrial type installation using inorganic materials, hard shapes and modern fittings.

Other questions to ask yourself when designing your art installation are the possible results of audience participation. Do you want them to have a unique experience, or a pre-determined answer? Are you trying to make a statement, tell a message relating to your theme, or do you want your audience to come up with their own conclusions? These questions will help you to refine your idea and create a installation that best suits your exhibition.

Target Market

Tailor-make your art installation to your target market for maximum success. This is important in all areas of business marketing and your art exhibition should be no exception. A target market is usually defined as demographics such as age, gender, geography and socio-economic group.

If your audience is predominantly young middle class college students, your installation should be young, fresh, innovative and modern. On the other hand, if your target market is mainly elderly, upper class art investors you would approach both the exhibition and your art installation in a totally different way. Ask the venue what their customer demographics are in order to give yourself the best start.

Exhibition Venue

When creating your art installation it is very important to consider the venue in every aspect of the design. Visit the exhibition space and plan out the shape and size of the area available to you. Take lots of photographs, capturing every angle. Use a long retractable tape measure to take measurements of the room, noting the dimensions of the walls, including ceiling to floor height. Measure and record the size and locations of all doorways, windows, pillars, permanent light fixtures and electrical sockets. Take particular note of the main entrance way and how the audience will move around the installation.

Finally, ask the venue what resources they have on site, such as ladders, plinths, partitions and portable lighting. These will come in handy for your installation, and may cut down construction or display costs. Whether you are using props and equipment belong to the venue, supplying your own, or hiring them, ensure they are safe to use. This is particularly important if using electrical appliances such as portable lighting. Your audience safety and well-being is paramount.

An interactive art installation can become a value asset to your next art exhibition by making it stand out from the crowd. With just a few important design considerations you can maximise its promotional potential and make your exhibition a huge success.

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The first fifty years of editorial stock photography were lean years for photographers.

Few photographers imagined their photos were worth much more than the immediate compensation they received from a magazine, book publisher or assignment client.

In addition, to save filing space, many photographers threw out extra “baggage” of “outdated” images. Little did they realize they were tossing away a gold mine.

In the early days, some photographers had special agreements with their publishers or newspaper and magazine editors that ownership of the photos bought, could revert back to them (the photographers) after three years. In some cases it was a shorter period of time. (This was in the days before the revision of the Copyright Law decreed that copyright ownership now stays with the photographer. In its original form the Copyright Law transferred copyright to whoever bought a "use" right to a photo.)

Unfortunately, some photographers didn’t take advantage of this kind of agreement provision. They were busy with their other projects and went on to other things, as the photo industry matured. Their original photographs, lying dormant in files at book companies, newspapers, and magazines, were sometimes ushered out by a junior assistant or inexperienced clerk, to make room for contemporary work. What could have been an annuity for a photographer disappeared into the dumpster.

Of course, some organizations had the foresight, manpower, and funds to catalog and save everything. One example is TIME-LIFE. Their files of photos chronicle the life and times of America since 1936.

Several years ago, the then-director of the TIME-LIFE library, Beth Zarcone, gave me a tour of their collection. The count of images totals more than 21,000,000, and before Getty Images bought their archives, TIME-LIFE kept these photos in their climate-controlled library at the base of Rockefeller Center in New York. I saw youthful pictures of Muhammad Ali (13 books have been written about him in the last decade), Frank Sinatra, astronaut John Glenn, Eleanor Roosevelt, and countless others. These were pictures taken by long-gone photographers who never thought about the legacy they were creating.

Not long ago, I had a talk with Flip Schulke, famed photographer of the Martin Luther King, Jr. era, and the subsequent years of political unrest.

He said, “As a young photographer in the 60’s, I didn’t throw anything away. After all, I thought of my pictures as my kids. Who gives their kids away?” As a result, Flip has a deep selection of outtakes from his assignments and self-assignments.

“Today, I’m making more money from those pictures than I did back when I took them,” says Flip. His books and photos about Martin Luther King Jr. have brought in six figures. A recent sale to a major TV network for a TV special, netted $24,000 in one month.

He also is authoring a St. Martin’s Press book about Muhammad Ali. He is working with The University of Minnesota and Macalester College (where he graduated) in St. Paul MN on a CD-ROM featuring his photos of Dr. King.

“Stock photographers should realize that their editorial photos serve as a pension, an annuity, as you get older. When you’re an editorial stock photographer, everything becomes history,” he said.

Flip pointed out that many photographers might not have the funds to produce their own CD-ROM. One way of getting around this is to donate your collection (with limited copyright) to a university, college or museum that has the budget to edit and make the selection process, catalog the pictures, produce the CD-ROM and promote it. The institution and the photographer then share in the profits.

“Some schools, however, don’t always have the funds to follow through on the complete process. If they don’t, the pictures will sit around in a box, the same way they did at your studio. Choose carefully.”

For present-day photographers, Flip warns that despite the convenience digital cameras offer to photographers and publishers, the process can backfire. For example, a city desk editor will take a card from a digital camera, choose only one or two shots from the photos on the card, say of a fire scene, and then hand the card back to the photographer. To utilize the disk space, the photographer may be inclined to erase the remaining pictures to start on a new assignment. This may save disk space, but it destroys the outtakes that might prove valuable to the photographer’s historical collection.

Flip Schulke warns that every photo has historical significance. “Hold on to your photos. They are your future social security.”

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Captured Moments by the Square Inch
by Diana Avergon

Ever think about the last time you were photographed with your mom, took that “playing ball” picture of your black lab or got a close up shot of your newly reconditioned chrome green 1967 VW Bug? Does a special photo come to mind for its beauty,its content or its emotional impact? Would you like to “live into” this special photo and experience it as something that you love? Try painting it... by the square inch.

Here’s how it goes. Select a photo of which you have fond memories. Lay a clear plastic sheet protector over it and make a grid using a ruler and a permanent marker. How many squares are on your grid? Are there 32 or 36 or 40? Whatever the number is, now you will grid a large (12 x 18 “ or larger) sheet of drawing paper, using a ruler and pencil. Make the same number of squares on your drawing paper as you did on your clear grid. Now you can copy, by the square inch, each little square of the photo, by painting it onto the bigger corresponding square on the gridded paper.

Tape your gridded drawing paper onto a hard surface--cardboard or a drawing board.
Mix or select pre-mixed acrylic paints and keep them covered to keep them moist.

It might be helpful to start with the upper left hand square, and the corresponding square on the grid paper. Paint, on the corresponding square on the paper. what you see in the little square covering your photo. Sometimes it is something recognizable, sometimes not. At times, you might want to paint two or more squares at a time. Whatever you do, try to get in touch with the essence of the captured moment in the photo This is going to slow you way down, get you to investigate each corner, sequence and nuance of the photo. You will come to know each square inch.

Plan to spend a month or more--try to work a little each day. Stand back. How do you feel about your painting, the photo,your experience? Did you capture the moment?

The above project is one of many which appear in Packet for Painters, What’s Your Style?, copyright 2007, NASCO. www.eNasco.com/artsandcrafts

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Ashish Balram Nagpal and Chintan Upadhyay hosted the Soumen Das' exhibition titled Time and Empty Space at the Ashish Balram Nagpal Art Gallery, Colaba on May 15 at 6 pm.


The Art fraternity and Page 3 celebs geared to see the works of the talented contemporary landscape painter whose works are being termed as "natural and fresh.

Artist fraternity including Amisha Mehta, Soketu Parekh, Rajat Dhar, Sanjeev Khandekar, Vaishali Narkar, Bakul Patel, Dr Saryu Doshi and Pundole gallery's owner Dadiba Pundole. Anil Dharkar, film director Pankaj Parashar, model Pratyshaa bole, and Niranjan Iyengar, Vinod Nayyar among the pg 3 celebs who attended the show.

Says Ashish Balram Nagpal, "I think Soumen Das is one painter who has complete mastery of his art. This is evident in his works that are on display. We have displayed six of his works here as he is not a very prolific artist. I think he is brilliant."

Soumen Das' works are on display at the Ashish Balram Nagpal Art Gallery till June 14.

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Not so long ago, drawing became the new painting. From small-scale and intimate to wall-sized, highly-worked or resolutely low-fi; whatever its format, the re-appearance of a once side-lined medium marked a dramatic shift in its fortunes and indeed, assumptions about art in general.

But why the change? Was it that, in an art scene increasingly driven by fads, drawing became du jour simply because it hadn't been for a very long time? Or were other, less obvious factors at work?

In fact, the re-emergence of drawing was far from market-driven, and its increase in profile a far slower process than any newly voguish status might suggest.

To understand something of its current impact, it's necessary to look back at the closing years of the 20th century. A time when, to the eyes of many, the art scene looked very different indeed.

Throughout much of the 1990s visual austerity and a certain restraint governed the work of a new wave of artists; many of them British, many high-profile.

Figures such as Darren Almond, Damien Hirst, Martin Creed, Rachel Whiteread and a re-discovered Allan McCollum typified an art scene driven by hands-off, conceptual practice and stringent theoretical undertow.

Even artists whose work, by contrast, seemed more ludic and theatrical - Maurizio Catellan, the Chapman brothers, an ever-enduring Jeff Koons - shared a taste for slick, expensive, mechanized output. And in fact, looking back, there's a certain synchronistic poetry to the fact that Marc Quinn's 'Self' portrait, a principal icon of the era, quite literally froze the blood.

Further tendencies underpinned the general sense of pristine, chilly surface. Graphic design in the late 90s exulted in the hard edges of its newly perfect digital genesis, while on a popular level, serious flirtation with 'minimalism' induced homeowners to replace comfort with pristine surface and spacious void.

Clearly, any attempt to rapidly define a moment in art history is doomed to over-simplification. A vast array of artists stand in lush counterpoint to Hirst's surgically steely cabinets or Whiteread's pale, negative spaces. The work of Peter Doig, Marlene Dumas, Daniel Richter and Jörg Immendorf - to name just a few - all manifest an obvious delight in exuberant mark-making or absorbed, painterly gesture.

Yet it's certainly true that what generally made the headlines - the dissected sheep, the on/off lights, the unmade beds - were essentially 'conceptual' works that side-lined direct artistic intervention. And it's also true that, with the internet truly coming of age in the '90s, such highly publicized aesthetics became instantly and widely accessible for the first time in any history. In the mass public eye, art had gained a hard, new edge.

Yet elsewhere, a wildly contrasting vision was being far less well documented. On America's West Coast, in particular, the long-gestating seeds of a brimming alternative scene were beginning to bear considerable fruit. Its influences were multiple and diverse, yet shared the fact that all lay well outside the contemporary mainstream.

In LA, for example, the 'underground' drawings of Ray Pettibon - linked initially to the rock scene then distributed through short-run zines - had garnered fervent admirers throughout the late '70s & '80s. A major exhibition in 1992 succeeded in raising his profile both throughout the States and abroad.

Yet Pettibon's work was merely the best-known facet of a burgeoning counter-culture. One which, since 1986, had found a major advocate in the now legendary La Luz De Jesus gallery in downtown LA.

This space, located incongruously above an offbeat gift store, focused entirely on artists whose backgrounds and influences sprang from an array of popular cultures such as illustration, folk art, comics and tattooing. And this output, crucially, tended towards an intricate figurative craftsmanship more closely associated at the time with illustration than so-called 'fine' art.

The gallery and its stable of artists proved a speedy and influential local success, and in 1994, Juxtapoz, a magazine founded by Robert Williams (himself an artist and friend of famed underground artist Robert Crumb) also began to showcase this growing wave of alternative art.

Utterly at odds with the rarefied, theory-led aesthetic dominating contemporary practice at the time, this new sensibility came to be regarded as a movement. Its roots and position were defined by not just one label, but two: Low-Brow, or Pop Surrealism.

Resolutely populist - bordering, even, on kitsch - its appropriation of popular style and content within a fine art context questioned long-held assumptions regarding the parameters of art itself. Revisiting the earliest tenets of Pop Art, it nevertheless totally dismissed that movement's later associations with Warholian mass production.

And in San Francisco, too, similar trends were at work.

In the 1990s a group of artists including Chris Johansen, Clare E Rojas and Barry McGee emerged to form a distinctive new scene. Their work, though sharing much with the Low-Brow phenomenon, differed in several important respects and became known as the 'Mission School' in recognition of its essentially San Franciscan flavor.

Local influences contributed to a more whimsical, looser approach to image-making than LA tendencies at the time. Street art such as graffiti formed an intrinsic part of the scene, but was generally refined into a figurative rather than textual medium. The legacy of underground comics pioneered by the likes of Robert Crumb was also evident in cartoon-like characterization and a witty, humorous edge.

More importantly still, while painting lay at the heart of the Low-Brow movement, drawing was much more widely adopted by the Mission School artists.

In a nod to the hand-drawn agitprop and pyschedelia of '60s Haight-Ashbury, they revived techniques such as detailed patterning, hand-lettering and découpage. Materials, too, were frequently unconventional; ball-point pens, markers, recycled paper, wood or metal all found a part in the Mission School look.

This 'regional' distinction was clearly underlined in publicity for a 2000 show at LA's New Image Gallery:

SAN FRANCISCO DRAWING SHOW curated by: Alicia McCarthy and Chris Johanson. May 19 - June 17, 2000.

Straight out of San Francisco, drawings of over 15 artists will be exhibited .... Currently there are important artistic trends developing out of San Francisco. Drawing is at the root of this development.

Meanwhile, however, America's East Coast found itself forced (for once) to gradually acknowledge a nexus of creativity occurring elsewhere. While many commentators, curators and gallerists became increasingly aware that some kind of real cultural shift was taking place, others seemed slow or simply unwilling to recognize its impact or legitimacy.

Yet the growing appeal of Low-Brow and related work - especially amongst a generation of new and emerging artists - was undeniable. New galleries opened to deal exclusively in the genre, and Juxtapoz, along with many of its featured artists, began to acquire a cult following. Its international distribution and the broad reach of the internet helped ensure that this new sensibility filtered beyond the US.

The 'unofficial' Californian scene gathering pace in the '90s was intrinsically linked to a rejection of prevailing artistic practice - the notion, as Fred Tomaselli later put it, "...that people are a bit tired of the over-rationalism (sic) of the art world, this idea that you can get to everything through the cerebral."

Yet its ethos was otherwise hugely democratic and unifying, a statement of validity for neglected or side-lined art. There can be little doubt that its emergence provided an impetus behind the current interest in drawing.

But this interest - and with it, the resurgence of a particular kind of artistic engagement - was not, of course, solely confined to America's West Coast.

Elsewhere in the States, Laylah Ali's first major show of meticulously patterned, faux-naif works took place at Chicago's MOCA in 1999 (she had been featured, along with Chris Johansen, at New York's Drawing Center in the summer of 1998).

Julie Mehretu, likewise emerging towards the end of the '90s, fused painting with drawing in a myriad of complex mark-making, while Canada's Royal Art Lodge, formed in 1996, produced whimsical drawings, paintings and objects reminiscent of the Mission School's output.

In Europe, similar trends were also underway. As the 20th century drew to its close, Sweden's Jockum Nordstrüm was gaining recognition for his beautifully rendered, twisted tableaux of far from ordinary life. Switzerland's Marc Bauer produced vigorous drawings that exemplified the medium's strength, and in Britain the hand-drawn zine was adopted by Olivia Plender, albeit in a highly polished form.

While drawing, obviously, had never disappeared entirely from the gallery, these artists represent just a few of those contributing to its rapidly growing visibility towards the end of the '90s. A resurgence now so evident that, though prompted by certain definable factors, it nevertheless seems organic, almost essential; a phenomenon that quite possibly identifies as well as answers very current needs amongst today's young artists.

And what are they?

Well to start with, drawing is cheap. For those struggling with the high costs of studio space and materials, it's a medium that's financially viable as well as a manageable means of production.

What's more, it's hugely inclusive. Everyone, at some point, has experienced the act of drawing at some level, a participation which affords even the most casual observer a sense of involvement in the medium; a visceral engagement in its use that conceptual art forms often lack.

Yet despite this refreshingly egalitarian glow, it also appears that much of today's output seems directed towards highly individual, even arcane expression, a practice exemplified by intricate, almost obsessive mark-making.

On the one hand, this wholly supports an ethos by which today's artists seem to demand an intimate, personal and evident engagement with their art.

Painstaking detail and labor-intensive mark-making represent artistic endeavor for which the artist alone is responsible. No third-party construction teams, no assistants on hand to dab a brush as directed. This art is about making in the purest possible sense.

A parallel explosion in use of craft elements - beading, glittering, collage, embroidery - as well as the growing popularity of zines and artists' books - mirrors this quest for hands-on, highly personalized involvement.

Yet more intriguingly, demands for creative ownership may well serve needs besides a revision of artistic involvement.

Art, of course, has always been about reflecting and interpreting the world, but the early 21st century seems to have experienced a particularly profound re-appraisal of exactly what the world involves. The outlook is an uneasy one, marked by a growing sense of schism and dislocation, and in particular, the notion of circumstance veering out of control.

To return briefly to Pop Surrealism, true to its 'surrealist' label the movement is marked by subversion of apparent reality. Typically, this takes on disturbing, anxiety-ridden form; bio-morphed figures inhabit scenarios laden with threat; an undertow of violence is darkly enhanced by imagery plucked from childhood.

And importantly, unlike Surrealism, which investigates the interior spaces of the human psyche, Pop Surrealism obliquely focuses on physical, actual realities. Those genetic hybrids, ruined landscapes and constant simmer of threat don't merely exist in our nightmares. They're with us now.

The movement itself may have had its day as far as the art market is concerned, but the zeitgeist it portrays is clearly here to stay.

Consider, for a moment, Jean Dubuffet's famous description of L'Art Brut

"Those works created from solitude and from pure and authentic creative impulses - where the worries of competition, acclaim and social promotion do not interfere - are, because of these very facts, more precious than the productions of professions. ... we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade."

Though written in the 1950s, the proclamation reads now like a perfect manifesto for the kind of anti-establishment art scene we've been discussing. Yet quite apart from epitomizing a 'purer' alternative to the mainstream, the kind of art Dubuffet describes now carries connotations far beyond those of his original assessment.

The 'simplicity' of naïve or folk art harks back - in popular nostalgia at least - to carefree, less complex times in which a sense of place and purpose were clearly defined. It's little wonder that its revival coincides with acute apprehension regarding our own, turbulent times.

By contrast, much outsider art is clearly associated with not belonging - a characteristic most evident in its embrace of art produced by the mentally ill.

Yet here again there's a definite connection. Such work often originates through its use as a therapeutic tool; a fact that throws interesting light on the intricate, involved delineation of much recent drawing and painting. Indeed, in its conspicuous efforts to order, pattern and negotiate space, such complexity provides almost casebook examples of conflict-solving Gestalt.

More interestingly still, a significant proportion of contemporary practice doesn't just seek to interpret complex realities, but actually sets out to create them through construction of highly personal, alternative worlds.

Paul Noble's well-known drawings of fictional 'Nobson Newtown' are devoid of human figures, yet imbued with visual invention and idiosyncratic textual comment. A clear intention is to provide a reflection of the mind of their maker: as Noble himself puts it, "town planning as self-portraiture".

Other artists' fictional worlds provide similar arenas for grappling with issues that echo or parallel our own.

Michael Whittle, a recent graduate from the Royal College of Art, creates intricate drawings melding religious iconography with motifs garnered from heraldry, alchemy and science. The resulting images, snapshots of impossible states, underpin the artist's own desire to "make sense of reality" while also investigating "... man's attempts to come to terms with existence".

Camille Rose Garcia (whose practice, though largely identified with painting, includes much drawing) is well known for deceptively enchanting visions of what amounts to a near-dystopia. A recurring cast of characters battle to save or destroy a poisoned, dying world. The baddies, unfortunately, seem to be winning.

Art today appears to be grappling with a spiritual, political and therapeutic function that arguably, it hasn't reflected quite so clearly for centuries. And the fact that drawing, the most immediate and spontaneous of mediums, forms a vital aspect of the interpretation of a complex world should come as no surprise.

Postscript: Drawing right now - who we're liking

The energy of the California scene continues apace, with San Francisco still arguably the epicentre of new drawing - check out the wonderful work of Sara Thustra, Sacha Eckes, Andrew Schoultz and Simone Shubuck (a San Francisco native, though now resident in New York).

LA practice remains particularly diverse, but artists who make exciting use of drawing include Travis Millard, Adam Janes and Gina Triplett.

Elsewhere in the States, we enjoy the work of Carter, Aurel Schmidt and UK-born Dominic McGill (best known for his epic, 65ft 'Project for a New American Century').

In Europe, Richard Höglund produces interesting drawings informed by semiotics, and in the UK, artists of note include Sarah Woodfine and Adam Dant (the latter have both been recipients of the Jerwood Drawing Prize.

Most exciting of all, newcomer Laura Oldfield Ford creates large-scale, beautifully rendered drawings with astute political commentary at their core, as well as the cult zine 'Savage Messiah, an extraordinary foray into the psycho-geographic terrain of London.

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Black and white photography has it’s own charm. Colours are great, but they can create a disharmony of clashing colours and draw attention away from shapes, textures and compositional elements in your photograph. If these are more important to you than colours, consider converting your picture into black-and-white. In the old days before digital photography, you had to decide before you took the picture weather you’d want to use a colour-film or a black-and-white film. Today, with a few clicks in an image editing program you can turn colour into black and white.

There is several ways of doing this in Photoshop, which this tutorial is based on -- similar effects can be achieved in most other professional image editing programs.

Just click on ‘greyscale’ or alternatively set the colour saturation to zero. Slightly more advanced, use the ‘channel mixer’ and tick the check-box called ‘monochrome’. But the most powerful way of converting your colour photo to black-and-white is a rarely documented method using a combination of ‘colour balance’ and ‘saturation’. Using this method is slightly more complicated, but ever so much more powerful. You have complete control over how your colours are transformed into black and white. Here’s how you do it:

1. First turn on the ‘layer box’ (Windows > Layers).

2. Click on the little ‘adjustment layers’ icon in the bottom and choose ‘colour balance’. Click OK when the dialog window opens.

3. Click ‘adjustment layers’ again, this time choosing ‘hue/saturation’. Immediately, set ‘saturation’ to zero and push OK.

Your image is now black-and-white, but here’s where it gets really neat:

4. Double-click on the adjustment layer you created in step 2, called ‘colour balance’.

You now have the possibility to adjust each of the 3 sliders to the left and right, thereby adjusting the way each of these colours are transformed into black and white! This has the same effect as using a colour filter in front of your lens and can make some colours stand out compared to others. Reddish skin-tones, the blue sky, the green grass and foliage, all these and more can selectively be lightened and darkened in the black-and-white rendition, giving you great control over contrast and texture in your photo -- much more powerful than the other greyscale-options that leave average red, green and blue colours with the same boring grey.

But wait, there’s even more: Notice the 3 small radio buttons in the bottom saying ‘shadows’, ‘midtones’ and ‘highlights’? By default the ‘midtones’ is selected, but selecting one of the other two allows you to only adjust the darkest or lightest tones respectively. A good use for this is when you wish to bring out some of the details hidden in the dark shadows of your image. Choose ‘shadows’ and make sure the ‘preserve luminosity’ check-box is NOT selected. Then crank up all 3 sliders by the same amount and voilá, your shadow details come to light!

5. When you’re done, select ‘layers > flatten Image’ on the main menu and save the result!

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