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Art history doesn't have to be boring. Below is a very interesting art history timeline which is illustrated in a visual infographic.

Recently, the earliest record of Prehistoric art was thought to be around 40,000 B.C. But in September 2018, scientists made a new discovery. They found the earliest known drawing estimated to be 73,000 years old! The World's oldest known drawing looks kind of like a hashtag!

Since Prehistoric times, humans have created many different art movements. Remembering all those different art movements, and their importance can be confusing.
Regardless, to truly grasp how art has evolved over time, it's a good idea to have a general understanding art history.

Invaluable created the following visual infographic. It explores many of the popular Western art movements from Prehistoric times to present day creations. However, Invaluable left out some of my favorite genres of American Art. These include, Tonalism, Luminism, and the Hudson River School of Art!

Nevertheless, this infographic is fun and useful. Take a moment to scroll through the following interesting information. You will discover the main characteristics, leading contributors, and iconic paintings that spawned from each artistic movement.

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Exciting Art History Timeline Visual Infographic

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Recently, the earliest record of Prehistoric art was thought to be around 40,000 B.C. But in September 2018, scientists made a new discovery. They found the earliest known drawing estimated to be 73,000 years old! The World's oldest known drawing looks kind of like a hashtag!

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Little more advanced research

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Artist Profiles Archives | Artists Network

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By Louella Miles Eleanor Crow is an artist who specializes in creating color-rich portraits, still [...]

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Using nothing but everyday newspaper, expert paper artist Chie Hitotsuyama crafts realistic, exquisitely detailed sculptures of the animal kingdom.

To create each creature, Hitotsuyama skillfully binds rolled and twisted pieces of wet newspaper to each other. By varying the thickness and contours of the paper, she is able to precisely produce any figure she desires-from an animated little monkey to a resting rhinoceros. She even utilizes the colored print on newspapers to create impressive gradations. The process is completed entirely by hand, and requires a tremendous amount of paper prowess.

While the Japanese artist has obviously honed her craft, her passion for her subject matter goes beyond the artistic side of her work. "More than anything else, I'm particular about the realistic feel of the animals," she told Kokusai Pulp & Paper. "Animals that live in nature are equal to us in the sense that we live together on this planet. Sometimes they sleep. Sometimes they eat. They are living ordinary everyday lives just like us. I would like [to] keep insisting on reality and producing my life-sized work as much as possible in order to convey their lives."

Scroll down to watch Paper Trails, a short documentary of Hitotsuyama's work, presenting an up-close and personal study of her striking sculptures.

Chie Hitotsuyama: Website | Facebook
via [ Colossal]
All images via Chie; Hitotsuyama.

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Artist Tightly Rolls Newspaper to Craft Incredibly Detailed Animal Sculptures

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Using nothing but everyday newspaper, expert paper artist Chie Hitotsuyama crafts realistic, exquisitely detailed sculptures of the animal kingdom. To create each creature, Hitotsuyama skillfully binds rolled and twisted pieces of wet newspaper to each other. By varying the thickness and contours of the paper, she is able to precisely produce any figure she desires-from an animated little monkey to a resting rhinoceros.

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My practice explores the crossover between sculpture and textiles. Working across these boundaries I make mixed media constructions, assemblages and small installations comprising multiple units. Rather than direct representation, I aim to utilise the provenance and intrinsic qualities of materials, to evoke associations and carry the essence of ideas.

Working methods begin with thorough research followed by experimental sampling. Ideas are explored by working directly with materials. Techniques and processes vary as they are informed by my research. My preferred method of working is construction; building up forms by assembling separately prepared units. Textile elements such as felted fibres, fabric and stitch are frequently juxtaposed with concrete, wood, metal or natural materials.

Investigation into the marginalisation of textile practice led to questioning the role and function of boundaries. The resulting body of work references a variety of boundaries including those between art and craft, between genres, between men and women's work, and those in the landscape. Current work reflects my concern for the environment, in particular the impact of human activity on nature. My main interest is the threat to biodiversity. Focus is on the small, overlooked life forms that are in danger of extinction due to the destruction of their habitats. The pieces allude to the vulnerability and fragility of nature. A consequence of this work has been the development of small format artworks that explore the possibilities of concentrating ideas into a miniature size.

CV & Education
Qualifications and training
2003 - MA Fine Art, University of Liverpool
2001 - Cert. Advanced Studies in Art,University of Liverpool
1999 - BTEC HNC Stitched and Constructed Textiles, West Cheshire College, Chester
1998 - City and Guilds Creative Studies - Embroidery Parts 1 and 2, West Cheshire College, Chester
1986 - BEd Hons, University of Liverpool
Group exhibitions
2019 - Vlieseline Fine Art Textile Award touring exhibition, Birmingham, London, Dublin, Harrogate 2019 - VIII WTA International Biennial Contemporary Textile Art - Madrid Spain 2019 - CTRL/Shift, NCCD, Sleaford touring to 20/21 Visual Arts Centre , Lincolnshire 2018 - CTRL/Shift, MAC, Birmingham 2018 - International Miniature Art Biennial (IMAB), Ville Marie, Canada 2017/2018 - Arte&Arte Miniartextil touring exhibition; Como, Italy; Montrouge, Paris, France; Gif sur Yvette, France 2017- Fresh Air 2017, Quenington Old Rectory, Quenington, Gloucestershire 2017 - Making Space, Spring Knitting & Stitching Show touring exhibition, Olympia, London; Highland Centre, Edinburgh 2017 - Excellence in Fibers online exhibition, Fiber Arts Now magazine, USA 2016 - Making Space, Macclesfield Silk Museum, Macclesfield, Cheshire 2015/2016 - Arte&Arte Miniartextil touring exhibition, Como, Italy; Montrouge, Paris, France; Caudry, France; Venice, Italy 2015 - Power of Ten, SIT Select, Museum in the Park, Stroud, Gloucestershire 2015 - 62 Group Now, Upfront Gallery, Unthank, Cumbria 2014 - Ebb & Flow, Fishing Heritage Centre / Grimsby Minster, Grimsby, Lincolnshire 2013 - British Textile Art, Koyo Gallery, Tokyo, Japan
2013 - Pinpoint, One Church Street Gallery, Great Missenden, Bucks
2013 - Pink Wood, Bruton, Somerset
2013 - 6th International Biennial Exhibition on Mini Textile, Kherson Local Lore Museum, Kherson, Ukraine
2013 - Small Talk, Constance Howard Gallery, Goldsmiths University of London, London
2013 - Miniature Magnified, The Beetroot Tree, Draycott
2013 - A Personal Perspective, Craft In The Bay, Cardiff
2013 - Cabinets of Curiosities and Room of Wonder, The Borough Museum & Art Gallery, Newcastle-under-Lyme
2012 - [email protected], Farfield Mill, Sedburgh
2012 - [email protected], The Holden Gallery, Manchester
2012 - Interventions, Gallery of Costume, Platt Hall, Manchester
2012 - Package Tour, Alexandra Palace, London
2012 - Package Tour, Harrogate International Centre, Harrogate
2012 - Package Tour, RDS, Dublin
2011 - 7 Strands, Gate Gallery and Grimsby Minster, Grimsby
2011 - 7th International Biennial of Textile Miniatures, Arka Gallery, Vilnius, Lithuania
2011 - Sofia International Paper Art Biennial
2011 - National Gallery of Foreign Art, Sofia, Bulgaria
2011 - VI WTA International Biennial of Contemporary Textile Art - Air, The Ramon Alva de la Canal Gallery of the University of Veracruz, Xalapa, Mexico
2010 - Amateras Annual Mini Paper Art Exhibition 2010, Art Alley Gallery, Sofia, Bulgaria
2010 - Bending More Lines, Collins Gallery, Glasgow
2010 - Cartasia Biennial of Contemporary Art, Cavallerizza, Lucca, Italy
2010 - International Biennial Miniature Art (Finalists), House of Commons, Ottawa, Canada 2010 - International Biennial Miniature Art (Finalists), Museum of Contemporary Art Latino-American de la Plata (MACLA), Buenos Aires, Argentina
2010 - International Biennial Miniature Art 2010, Salle Augustin-Chenier, Ville-Marie, Quebec, Canada
2010 - Made To Fit, The Willis Museum, Basingstoke
2010 - The 62 Group of Textile Artists, Museum Rijswijk, Rijswijk, Netherlands
2009 - Bending the Line, The Hub National Centre for Craft & Design, Sleaford
2009 - Bowland - An Inspirational Landscape, The Platform Gallery, Clitheroe
2009 - Moving On, Upfront Gallery, Nr Penrith, Cumbria
2008 - Considered Matter, Mid Pennine Gallery, Burnley
2008 - Designer Crafts 2008, Mall Galleries, London
2008 - Healing, Norton Priory Museum & Gardens, Runcorn
2008 - Size Matters, Rochester Art Gallery & Craft Case, Rochester
2008 - Stuff: contemporary textiles by the 62 Group, Catmose Gallery, Oakham
2008 - The Foyle Trust Award Winners Exhibition, Forge Mill Needle Museum, Redditch
2007 - 62 Group, Textile Gallery, Knitting & Stitching Show, Birmingham, London, Dublin, Harrogate
2007 - Abstract Construction, The Beetroot Tree, Draycott, Derbyshire
2007 - Square Route, Blackburne House, Liverpool
2007 - Stitched Up, Crescent Arts, Scarborough, N.Yorks
2007 - You Are Here, The Kitchen Gallery, Runcorn
2006 - Art of the Stitch, RWA, Bristol; The Hub, Sleaford, Williamson Art Gallery & Museum, Birkenhead
2006 - E Squared, Royal Cambrian Academy, Conway
2006 - E Squared, Upfront Gallery, Cumbria
2006 - Expressions, The Brindley, Runcorn
2006 - Tracing Threads, New work by the 62 Group of Textile Artists, Hove Museum & Art Gallery, Hove, East Sussex
2005 - In the Square, Cajobah Gallery, Birkenhead
2005 - Showcase, The Maria Louisa Gallery, Liverpool
2004 - Consequences, Upfront Gallery, Cumbria
2004 - The Hard with the Soft, Cajobah Gallery, Birkenhead 2003 - MA Fine Art exhibition, University College Chester
2002 - A Time and a Place, Upfront Gallery, Cumbria
2001 - Affordable Art Fair, London (with Beatrice Royal Gallery)
2001 - Art of the Stitch, Mall Galleries, London; Williamson Art Gallery, Birkenhead
2001 - Madeira Show, Harrogate
2001 - Open Art Exhibition, Grosvenor Museum, Chester
2000 - Affordable Art Fair, London (with Beatrice Royal Gallery)
2000 - Connections: Africa's West Coast, The Beetroot Tree, Draycott, Derbyshire
2000 - New Horizons, Forge Mill Needle Museum, Redditch
2000 - Progressions, Yale Memorial Art Gallery, Wrexham
2000 - Riches of Stitches, Herbert Art Gallery & Museum, Coventry
2000 - Spring Showcase, Beatrice Royal Contemporary Art & Craft Gallery, Hampshire
1999 - Graduate Showcase, Knitting & Stitching Show, Alexandra Palace, London; RDS, Dublin; Main Halls, Harrogate
1999 - Open Exhibition, Drumcroon Arts Centre, Wigan
1997 - City & Guilds Showcase, National Needlecraft Show, Olympia, London
Competitions, prizes and awards
2019 Shortlisted, Vlieseline Fine Art Textile Award 2010 - Grand Prize AMATERAS Annual Mini Paper Art Exhibition, Art Alley Gallery, Sofia, Bulgaria
2010 - Honourable Mention, International Biennial Miniature Art, Salle Augustin-Chenier, Ville-Marie, Canada
2000 - Main Award winner, Charles Henry Foyle Trust Award for Stitched Textiles
1999 - Embroiderers' Guild Graduate Showcase, The Knitting & Stitching Shows
1996 - City and Guilds Medal of Excellence for Creative Studies Embroidery Part 1
Publications
Web articles:

2013 - Artist of the Month (August), www.axisweb.org
2013 - Featured Artist (April), www.textileartist.org
2012 - Artist Interview, www.textileartist.org

Books and Journals:

2015 - Selected Journal issue 2: Spring/Summer 2015 2012 - Radical Thread, The 62 Group 1962-2012; ed. Lesley Millar; pub.Direct Design Books

Exhibition Catalogues:

2013 - A Personal Perspective on Landscape, The Makers Guild in Wales
2011 - Sofia Paper Art Fest, Bulgaria
2011 - Aire, World Textile Art, Mexico
2011 - Vanish / Survive, Arka Gallery, Lithuania
2010 - Amateras Mini Paper Art, Bulgaria
2009 - Bending the Line, 62 Group of Textile Artists
2008 - Designer Crafts at the Mall, Society of Designer Craftsmen (SDC)
2007 - Knitting & Stitching Show (CD), 62 Group of Textile Artists
2006 - Tracing Threads (CD), 62 Group of Textile Artists
2006 - Art of the Stitch, Embroiderer's Guild
2000 - New Horizons, Charles Henry Foyle Trust
1998 - City & Guilds Calendar
Professional Memberships
The 62 Group of Textile Artists
WTA (World Textile Art)

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My practice explores the crossover between sculpture and textiles. Working across these boundaries I make mixed media constructions, assemblages and small installations comprising multiple units. Rather than direct representation, I aim to utilise the provenance and intrinsic qualities of materials, to evoke associations and carry the essence of ideas.

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Fracking has been in the news lately, and never in a positive light. What is fracking and why is it so controversial?

What Is Fracking

Fracking is the process of getting natural gas and/or oil out of layers of shale rock that are hundreds or thousands of feet below ground. Fractures in the rock layers are caused by pressurized fluids, and once fissures, veins, and dikes are created, gas and/or oil can be extracted.

Fracking has gained in popularity in recent years because of advancements in technology, most notably improved hydraulic drilling equipment and 3D imaging that helps pinpoint locations for drilling.

Backers of fracking herald it as a cost-effective, safe way to tap into massive amounts of fossil fuels located underneath U.S. soil, and therefore decrease dependency on foreign oil.

However, there's increasing concern about fracking, most notably in urban areas, where fracking sites are often located close to residential properties.

What Causes Fracking Environmental Issues / Environmental Issues With Fracking

Environmental concerns with fracking include:
*leaks that could contaminate groundwater supplies
* air pollution
*gases and fracturing chemicals coming to the surface
*spills and backflow coming to the surface

Facts About Fracking

Here are facts about fracking and environmental issues:
*Fracking has been around since 1947, but became more widespread in the late 1990s.
*The EPA (Environmental Protection Agency) is preparing a comprehensive report on fracking that is due by the end of 2012.
*Approximately 3 to 5 million gallons of fluid per well are used for fracking, 98% of which is water, and 2% of which is chemicals.

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Fracking Environmental Issue | What Is Fracking | Facts About Fracking Environment

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Fracking has been in the news lately, and never in a positive light. What is fracking and why is it so controversial? Fracking is the process of getting natural gas and/or oil out of layers of shale rock that are hundreds or thousands of feet below ground.

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Very good site

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From gigantic televisions to tiny iPods, the moving image today is all around us. Mobile phones capture it, play it and share it digitally, while advertising hoardings have leapt firmly into the realm of science fiction, animating their once-static messages before our eyes. We may take modern video for granted, but the first steps towards true motion pictures began with simple yet marvellous toys of optical illusion. In the days before the earliest forms of cinema were created by the Lumière brothers in 1895, Victorian optical toys provided a charming and instructive array of moving picture demonstrations. They were often simple in design and use but their names suggested fearsome technical complexity: Phenakistiscopes,
Praxinoscopes and Choreutoscopes. Yet these elaborately named devices were mass produced for a huge general audience. At the same time, scientists were delving deeper into optical phenomena, including the persistence of images on the retina, from which an illusion of movement can be obtained.Such investigations led to a rich and visually stunning assortment of optical instruments. From the fancily named Thaumatrope to the simple Flip Book, the toys outlined in this exhibition heralded the emergence of cinema, but retained an enduring appeal long after movies hit the silver screen.
>> Exhibition Objects Inventory

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Fancy Names and Fun Toys - Museum of the History of Science

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Introduction | Phenakistiscope | Thaumatrope | Zoetrope | Choreutoscope| Praxinoscope | Flip Books | Videos From gigantic televisions to tiny iPods, the moving image today is all around us. Mobile phones capture it, play it and share it digitally, while advertising hoardings have leapt firmly into the realm of science fiction, animating their once-static messages...

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1900 - The Enchanted Drawing

Source: https://www.youtube.com/watch?v=rYDmH2B9XJw

We kick things off with a silent film by J. Stuart Blackton, who some call the father of animation. His silent film shot in Thomas Edison's Black Moria studio in New Jersey is credited as the first animated sequence on film ever.

An actor essentially does a bit of prop work and a cartoon man drawn on an easel occasionally changes expression thanks to some basic stop motion photography. Nothing fancy, but enough to capture the imagination of its viewers and other's looking to run with this new and exciting visual entertainment medium.

1906 - Humorous Phases of Funny Faces

Source: https://www.youtube.com/watch?v=wGh6maN4l2I

Without any live action actor this time, J. Stuart Blackton returns with this, the first animation recorded on standard picture film. Humorous Phases begins with an artist drawing portraits on a blackboard in chalk, before they begin to animate and interact with each other.

It may be primitive, but this film would have blown your monocle clean off your face if you hadn't seen a drawing come to life before!

1908 - Fantasmagorie

Source: https://www.thevintagenews.com/2016/12/06/the-first-fully-animated-film-ever-the-1908-fantasmagorie-was-made-by-emile-cohl/?chrome=1

French Charicaturist Émile Cohl steps into the ring now, producing the first fully animated cartoon with no live-action whatsoever. Made from 700 drawings, each double-exposed, this 2 minute long film is the earliest example of what became known as traditional animation.

With his characters morphing and transforming throughout, Cohl wanted to really demonstrate the fantastical, reality-defying possibilities of animation with his production.

1914 - Gertie the Dinosaur

Source: https://en.wikipedia.org/wiki/Gertie_the_Dinosaur

Whilst Gertie was perhaps the first animated character to gain notoriety, Windsor McCay's animated dinosaur film is worth a mention because it is the first animation to make use of key framing, inbetweening, registration marks and animation loops. These all became part of standard industry practice for traditional animation production for decades to come.

1919 - Felix the Cat

Source: https://animation-appreciation-education.tumblr.com/post/132410311237/feline-follies-1919-produced-by-pat-sullivan

Felix was the leading character of a series of short cartoons created by Otto Messmer and became the first real 'star' of the animated silent film era.

He was a bit of a pop culture icon as well, having dolls, toys, watches, ceramics, postcards and more made in his image.

1922 - Steamboat Willie

We all know this one! Steamboat is often mistakenly thought to be Mickey Mouse's debut, when in fact, this wasn't his first outing. It was, however, the first animated film to both popularise Mickey and to be fully scored.

Yeah that doesn't sound as impressive, but it's still an iconic moment in animation history with some of the most recognisable visuals of any animation ever.

1930 - Dizzy Dishes

This animated cartoon about an incompetent chef gets a mention because it's the first cartoon in which Betty Boop appears. Although not as we know her... Back then, she was some kind of terrifying dog-human hybrid. Sorry for the nightmares.

1932 - Flowers and Trees

This is part of Disney's Silly Symphonies series, and was the first film to win an Academy Award for Best Animated Short.

The keen-eyed amongst you will notice that we've left the black and white era behind us! Flowers and Trees was also the first animated film shot with a three-strip Technicolor camera, a process so costly that it almost ruined Disney financially. Luckily the cartoon was a smash hit - phew!

1933 - King Kong

Widely considered to be one of the greatest films of all time - King Kong earns its spot in the history of evolution for including the most advanced and convincing stop motion animated characters yet seen.

1937 - Snow White and the Seven Dwarfs

Probably the first animation on this timeline that still holds up nowadays, which speaks volumes of its polish, Snow White was the first ever full length animated feature film.

The labour-intensive yet visually stunning production perhaps makes this the work that cemented Walt Disney as one of the world's most innovative storytellers.

1960 - The Flintstones

This palaeolithic Hanna-Barbera cartoon was the first ever prime-time animated show.

Amongst its long list of accolades and achievements, did you know that Fred and Wilma were also the first married couple to ever be shown in bed together on TV? Remember that one, might come up in a pub quiz one day!

1961 - One Hundred and One Dalmatians

This one is on the animation timeline because it was the first full feature animated film Disney made using xerography.

This is a process that eliminates hand-inking the outlines of the characters on each cel. Instead, the drawings were printed directly onto the cels, saving a massive amount of time and labour. Keep an eye out for the clear, bold lines in Dalmatians - a direct result of this process.

1985 - The Adventures of Mark Twain

Source: https://www.imdb.com/title/tt0088678/mediaviewer/rm2051125249/?ref_=ext_shr_lnk

Another first, this Will Vinton production about Mark Twain, Tom Sawyer, Huck Finn and Becky Thatcher was the first ever feature length stop motion claymation film

It paved the way for studios like Aardman and Laika to take this process and run with it.

1988 - Who Framed Roger Rabbit

The first feature film to have live-action and cartoon characters share the same screen - we've come a long way since The Enchanted Drawing!

Roger Rabbit is also a major milestone in animated history because of the sheer number of characters and assets from different studios that made an appearance. Where else can you get Bugs Bunny and Mickey Mouse in the same scene?!

1993 - Jurassic Park

Jurassic Park mixed animatronics, stop-motion and CGI to create the most photo-realistic animated creatures ever before seen on screen.

Industrial Light & Magic (ILM), the visual-effects studio behind these prehistoric creations, took a year to create just 4 minutes of computer generated dinos.

1995 - Toy Story

Just 2 years after Spielberg's Jurassic Park, Pixar came out with the first entirely computer generated feature film. It had full model articulation and motion-control coding to bring Andy's toys to life, a real breakthrough in 3D animation which secured Pixar's position as the studio to beat.

Toy Story was also the first animated film nominated for an Academy Award for best original screenplay, showing how animation was beginning to be recognised and respected as entertainment, rather than just for animation-related accolades.

2002 - Lord of the Rings: The Two Towers

The second instalment of Peter Jackson's Lord of the Rings trilogy is remarkable for many reasons, not least of which is the motion capture and CGI work that went into creating Gollum.

Whilst the dinosaurs of Jurassic Park were highly accomplished elements that looked right at home alongside live-action stars, Gollum was the first real character that showed the world what motion capture and CGI was capable of. A fully computer generated character could appear alongside actors and it looked amazing.

Check out our pieces on Andy Serkis and mocap for more technical info and trivia about Gollum and motion capture!

2009 - Avatar

Moving from LotR's CGI characters in real world settings, the next milestone in animation history came from James Cameron's Avatar featuring real actors in completely computer generated worlds

Avatar blew audiences away with its advanced CGI and motion capture techniques, bringing the lush, alien world of Pandora to life in both 2 and 3 dimensions.

2012 - ParaNorman

Stop motion has come a long way! Us Brits, having grown up with the likes of Pingu, Bagpuss, The Magic Roundabout, Wallace and Gromit, and Creature Comforts on our screens, tend to have an especially soft spot for the medium as well.

ParaNorman by studio LAIKA represents some of the most advanced stop-motion and modelling techniques in animation to date. It was the first to make use of mass 3D printing for its models - creating over 31,000 individual face parts during production.

This technique is why the puppets in ParaNorman are so expressive and versatile - over 250 unique faces were used for one character to create a single shot lasting only 27 seconds. These groundbreaking stop motion techniques are enough to make viewers question if it's even models at all!

It's your turn!

The animation timeline doesn't end there - in fact, it's one of the most rapidly advancing and exciting spaces to be creating in today. Flashy, endearing and high-impact visuals are becoming available not just in entertainment, but in business animation as well.

If you've got ideas for your next communication project and you think animation is the way to grab attention and achieve your goals, give us a bell. We're a friendly team with loads of experience, we'll definitely give you some inspiration!

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A Timeline: The Evolution of Animation - Fudge Animation Studios

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From first hand-drawn animation to fully digitalised CGI movies, how did animation evolve over the last few years? Find out more in our blog.

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Henry Moor

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A Tate online resource for children, schools and teachers which explores the ideas and inspiration behind Henry Moore’s sculptures. Suitable for Key Stage 2

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Soap carvings are simple to begin for children and adults alike. Soap is soft enough that you can use a sharp knife or you can use household objects such as spoons, forks, and toothpicks to make your design. In addition, soap bars are readily available and can be shaped into designs as complex as you desire. To make a soap carving, all you need is to find soap and tools, trace your design, then remove the excess soap bits.

1. Get a knife. A carving or paring knife is perfect for whittling down the soap into a basic shape. Soap is often soft enough that kids can use butter knives, plastic knives, spoons, or popsicle sticks. For detail work, you may wish to get a finer knife such as a detailing knife or substitute in an orangewood stick or toothpick.

2. Cover your work area. Spread newspaper out over the area where you'll do the carving. When you're finished, you'll be able to wrap up the newspaper to easily remove the soap fragments. Another option is to hold the soap over a bowl as you work.

1. Decide on the subject. What you make out of the soap is only limited by your imagination. Experienced carvers make highly-detailed flowers and animals. For beginners, choose a block shape such as a turtle, fish, or heart. These patterns fit the shape of the soap bar and don't require much detail work.

2. Draw an outline. You can use a pencil to make the outline or you can etch the outline into the soap using a knife, orangewood stick, or toothpick. This basic outline shows you what parts of the soap you need to remove.

3. Begin detail work. At this point, you may want to switch to a pointed knife, orange wood stick, plastic fork, toothpick, or other sharp, precise instrument. Work from the middle of the bar and drag the implement to scrape out small details such as eyes, scales, and petals.

4. Polish the soap. Carefully use your fingers or a paper towel to remove any soap shavings left on the surface. Use as little pressure as possible. The soap will be fragile if you added a lot of details. Wet your finger and rub the surface to create a smoother finish. Let the soap dry for a day if you do this.

1. Use scented soap. Once you obtain scented soap, you can add some flair. For pineapple-scented soap, cut the soap into the shape of a pineapple. This is a simple way to practice carving and the design shows exactly what kind of soap you have.

2. Create layered flowers. Instead of cutting out a simple block shape, use detail work to create more elaborate designs. To achieve three-dimensional flower carvings, for example, use a sharp carving tool. Create the middle of the flower in the center of the soap and shave away excess soap as you move outwards and sculpt thin petals.

Add New Question

What tools other than a knife can I use to carve soap?

You can also use cutter, nail pusher or a spoon; it depends on the shape you're going to carve.

How do I carve a dancing girl and boy?

You'll need a large size soap and lots of practice. To avoid wastage, try creating easier objects so that you'll learn the tips and tricks in carving the soap. Then, work your way up to carving a dancing girl and boy.

Is there a way to repair a soap carving if a piece has broken off?

When we did this project in grade school, our teacher had us stick a toothpick into the main part and then stick the broken part on the other end, then wet each side so it fuses together. If it's a small enough thing that broke off, you probably don't even need the toothpick.

See more answers

A bar of soap

Bowl or newspaper

Carving knife or similar tool

Pointed knife or other tool for detail work

This article was co-authored by wikiHow Staff. Our trained team of editors and researchers validate articles for accuracy and comprehensiveness. wikiHow's Content Management Team carefully monitors the work from our editorial staff to ensure that each article is backed by trusted research and meets our high quality standards. This article has been viewed 621,397 times.

To make a soap carving, etch your design into the surface of the soap with a pencil, knife, or toothpick. Slice away the edges of the soap with a paring or carving knife down until you're left with the rough shape of your drawing. Use a pointed knife or other sharp, precise instrument to scrape out small details such as eyes or petals. When you're finished carving, wet your finger and rub it across the surface of the soap to give it a smooth finish. Remember to always use caution when you're working with sharp knives. If you want to learn which types of soap work best for carving, keep reading the article!

Thanks to all authors for creating a page that has been read 621,397 times.

"I love how this article mentions the most helpful items for beginners, such as ivory soap. I also love how it's clear and straight to the point with not too many difficult instructions to follow." ..." more

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How to Make a Soap Carving: 12 Steps (with Pictures) - wikiHow

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Soap carvings are simple to begin for children and adults alike. Soap is soft enough that you can use a sharp knife or you can use household objects such as spoons, forks, and toothpicks to make your design. In addition, soap bars are...

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Discover recipes, home ideas, style inspiration and other ideas to try.

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"We renounce in sculpture, the mass as a sculptural element [....] We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts."

Synopsis

Naum Gabo's structurally complex, mesmeric abstract sculptures cast a shadow over the whole of 20 th-century art, while his life was that of the quintessential creative émigré, as he moved from country to country seeking new contexts for his work, in flight from war and repression. As a young man in post-Revolutionary Russia, Gabo was closely associated with Constructivism, which sought to blur the boundaries between creative and functional processes. He incorporated principles from engineering and architecture into his creative explorations, and used his sculptures to describe and demonstrate new scientific concepts such as Einstein's space-time relativity. Gabo worked through various movements and ideas, eventually settling in the United States after the Second World War. Like all the most important artists, his work and his life were fundamentally shaped by the era in which he lived, and helped to define that era in turn.

Key Ideas

Gabo believed that art should have an explicit and functional value in society. As a student of engineering and architecture, he emulated and demonstrated cutting-edge techniques from those fields in his sculptural constructions, and designed complex architectural plans himself. This element of his work, initially developed to mould the mindset of the new Soviet citizen, influenced a whole paradigm within 20 th-century art: the idea of dissolving the boundaries between artistic and functional processes.

One of Gabo's most important discoveries was that empty space could be used as an element of sculpture. Constructing his sculptures from sets of interlocking components rather than carving or moulding them from inert mass allowed him to incorporate space into his work more easily. Intended to demonstrate ideas from modern geometry and physics, Gabo's use of space within sculpture stands alongside Stéphane Mallarmé's incorporation of page-space into poetry, and John Cage's incorporation of silence into music, in epitomizing a modern, secular concern with expressing what is unknown as well as what is known: with void as well as form.

By incorporating moving parts into his sculpture, or static elements which strongly suggested movement, Gabo's work stands at the forefront of a whole artistic tradition, Kinetic Art, which uses art to represent time as well as space. Indeed, his Kinetic Construction of 1920 is often considered the first work of Kinetic Art. From this point onwards, Gabo's work incorporated or suggested what he called "kinetic rhythms", reminding the viewer of a quintessentially modern discovery first made by Albert Einstein, that time and space only exist in relation to each other.

Biography

Childhood

Gabo was born Naum Pevsner in the small Russian town of Bryansk, the sixth of seven brothers and sisters. The Pevsners were a large, tightknit, patriarchal middle-class family, with a strong and charismatic father, Boris, and mother, Fanny. Though Boris was Jewish, the siblings were brought up Christian through the influence of their Russian Orthodox grandmother, and Naum would distance himself from his Jewish roots for much of his life. Boris Pevsner owned a successful metal works and rolling mill, which supplied many of the railways around Russia. It was by this means that the young Naum became familiar with many of the industrial materials that would later inspire his work, while two of his older brothers pursued careers in engineering. A third, Natan (later Antoine), four years older than Naum, became a successful artist, and was a significant influence on his younger brother, whose artistic curiosity was beginning to emerge through a love of poetry and early attempts at sculpture, informed by the Tsarist art that dominated his cultural landscape.

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Naum Gabo Biography Continues

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"We renounce in sculpture, the mass as a sculptural element [....] We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts."

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Gormley climate change artwork shown for first time in the Guardian

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The Antony Gormley artwork, called Connection, accompanies an extract from Naomi Klein's book on climate change to raise awareness of how mankind is impacting the planet and 'sleepwalking into a massive human disaster'

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Artist page for Cornelia Parker CBE RA (born 1956)

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"To any artist, worthy of the name, all in nature is beautiful, because his eyes, fearlessly accepting all exterior truth, read there, as in an open book, all the inner truth."

Synopsis

François-Auguste-René Rodin's story recalls the archetypal struggle of the modern artist. He was born in obscurity and, despite showing early promise, rejected by the official academies. He spent years laboring as an ornamental sculptor before success and scandal set him on the road to international fame. By the time of his death, he was likened to Michelangelo. His reputation as the father of modern sculpture remains unchanged, and in recent years the wider exhibition of his many drawings has also elevated his reputation as a draughtsman. However, his many intimate - some have suggested exploitative - drawings of his models have altered the nature of the traditional respect paid to this eminent artist.

Key Ideas

Rodin stripped away many of the narative references to classical myth that were still attached to academic sculpture in the late-19 th century and placed a new stress on the dignity of simple human moments. The fame of works such as The Kiss (1884), The Thinker (1880), and The Age of Bronze (1876) has transformed such depictions into paragons of high art, yet until Rodin's age, such sculpture's importance and novelty was not appreciated. Instead of representing gods or muses, he sculpted lifelike figures in distinctly modern attitudes of love, thought, and proud physicality.

Rodin's achievement as a sculptor was to find a way to make the brute materiality of sculpture express the fleeting mobility of the modern individual. To achieve this, he abandoned the polished and idealized figures of academic sculpture and produced rougher, more unfinished surfaces, which better expressed restlessness, corporeality, and movement. While this often suggests psychological agitation, it also evokes the constant motion characteristic of life in modern times.

Rodin's work process often encouraged him to reuse compositions in different ways. Most famously, figures that appear in his The Gates of Hell were often rendered at later dates, created separately and at different scales. But Rodin would also represent the same figure multiple times in the same sculpture or fragment figures into individual body parts like hands or arms. All of these processes were encouraged by his very un classical approach to composition, and they produced strange and jarring effects.

Biography

Childhood

Rodin was born in a poor area of Paris's fifth arrondissement to Jean-Baptiste Rodin, an office clerk in the local police station, and Marie Cheffer, his second wife. Despite Jean-Baptiste's modest earnings, he and Marie attempted to provide a bourgeois upbringing by sending Rodin to a boarding school in Beauvais. He was not a successful student, perhaps in part because of his shortsightedness. In 1854, aged 13, he decided to pursue a career in the arts, attending the École Spéciale de Dessin et de Mathematiques (or "Petite École," to distinguish it from the Grande École des Beaux-Arts), which trained boys in the decorative arts.

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Auguste Rodin Biography Continues

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"To any artist, worthy of the name, all in nature is beautiful, because his eyes, fearlessly accepting all exterior truth, read there, as in an open book, all the inner truth." François-Auguste-René Rodin's story recalls the archetypal struggle of the modern artist. He was born in obscurity and, despite showing early promise, rejected by the official academies.

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Give it ago, it gets you started on the journey and helps make things a little clearer. It also has links to further study

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Kids learn about art history. Educational articles for teachers, students, and schools including art movements, impressionism, realism, symbolism, abstract, and pop art. Biographies of famous artists including Monet, van Gogh, Rembrandt, Picasso, Michelangelo, and more.

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The Art Story: Visual Art Movements, Artists, Ideas, and Definitions

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The Art Story is the History of Visual Art that is optimized for the web: we clearly and graphically overview and analyze classical and modern artists, movements, and ideas.

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Image courtesy of Salford Makers

Rust Dyeing / Half Day Workshop at Salford Makers, Chapel Street, 16 October 2018, from £40 - Book now

Salford Makers have a range of exciting workshops coming up this autumn including Talie Linseed's half-day workshop in which you will learn the art of rust dyeing. During the session, you will explore the exciting possibilities of using rust as a colouring and printing agent. You can then experiment with different dye baths and create a spectrum of earthy tones to colour and print onto a selection of fabrics.

Talie Linseed, aka Natalie Linney, is a Manchester based textile artist and facilitator. Her practice of natural dyeing is taken from ancient methodologies. She initially came across this way of creating whilst in Tasmania, Australia, where she was working with the textile artist Kate Fletcher. Natalie uses this centuries-old process of natural dyeing to create fresh and inventive designs.

The workshop is part of a series of workshops from Salford Makers. Based within the artistic hub of Islington Mill, the Makers are a group of artists and designers who are committed to teaching crafts and arts at a range of levels. As well as delivering workshops for experienced artists the rust dyeing workshop is an example of one of the more accessible sessions on offer. Absolutely no experience is required and the session is designed to be an informal introduction to Natalie's practice. If you're looking to learn a new skill or for a creative outlet, Salford Makers will have a workshop to suit your particular crafty interests. They aim to programme workshops with a focus on collaboration, inclusivity and wellbeing to fit in with the wider ethos of the collective. All of the Salford Makers are pioneering artists working at the forefront of their specialist disciplines. When participating in their workshops you will find it inspirational to learn with such passionate individuals.

Please see their website for full workshop details and booking.

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Rust Dyeing / Half Day Workshop at Salford Makers - Creative Tourist

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Rust Dyeing / Half Day Workshop at Salford Makers, Chapel Street, 16 October 2018, from £40 - Book now Salford Makers have a range of exciting workshops coming up this autumn including Talie Linseed's half-day workshop in which you will learn the art of rust dyeing.

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Christo Vladimirov Javacheff and Jeanne-Claude

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Christo Vladimirov Javacheff and Jeanne-Claude

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Official website of artists Christo and Jeanne-Claude. Features photographs and texts about completed projects and works in progress. Includes biographical and bibliographical information as well as virtual tours, videos and news.

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7 Environmental Artist fighting for change 

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7 Environmental Artist fighting for change 

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We connect art lovers and art dealers. Widewalls is an online marketplace and magazine dedicated to modern and contemporary art.

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Actionable measures on energy-usage will meet their fate this week, with United Nations talks and public protests planned as part of Climate Week NYC. Climate change is arguably the most pressing sociopolitical issue of our time, with famine, poverty, and mass-relocation hanging in the balance. The romantic, rambling idylles and shimmering rivers of J. M. W. Turner and Caspar David Friedrich feel as quaint now as they were foreign to viewers at the time of their unveiling, viewers accustomed to Earth being represented as debased and unpredictable, an unruled beast man ached to conquer. Our contemporary landscape, too, feels foreign: seas are rising, fires spreading, and ice melting. It's a process unseen by the majority of us across the globe who live in urban environments. But artists of today have internalized this fraught relationship and are responding in kind.

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Nine Artists Leading the Discussion on Climate Change

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Actionable measures on energy-usage will meet their fate this week, with United Nations talks and public protests planned as part of Climate Week NYC. Climate change is arguably the most pressing sociopolitical issue of our time, with famine, poverty, and mass-relocation hanging in the balance. The romantic, rambling idylles and shimmering rivers of J.

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BBC - Learning - Environmental Studies: Learning resources and online courses

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Learn about the environment and environmental issues with this guide to environmental studies: resources, news, courses and job opportunities.

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Together we defend the natural world, and stand for a green and peaceful future

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We are Amnesty International UK. We are ordinary people from across the world standing up for humanity and human rights.

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Clean water, decent toilets and good hygiene are vital for living a dignified, healthy life.

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Torture is used to silence and destroy lives. We won't let it.

We stand with torture survivors, providing therapy and support, and fighting for change together.

Join more than 100,000 people fighting for tolerance and justice around the world today.

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Torture tries to destroy lives. We won't let it. We stand with survivors, providing therapy and support, and fighting for change together. Are you with us?

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Friends of the Earth is an environmental campaigning community dedicated to the wellbeing and protection of the natural world and everyone in it.

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vivienne westwood climate change t-shirt

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Vivienne Westwood launches war/peace t-shirt in support of climate... | Environmental Justice Foundation

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Asking the question 'How did I create 38 million climate refugees?', the t-shirts support EJF's 'No Place Like Home' campaign for climate refugees.

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A little hard at times but a good resource for finding artists

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Browse more than 4,000 artists represented in the Tate collection

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This is a good place to start your research

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Art Movements - artists, styles, techniques, ideas

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Art Movements are the collective titles that are given to artworks which share the same artistic ideals, style, techniques or timeframe.

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A good site for Art and Design
Make an account and you can choose all the subjects you wish to study.

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GCSE Art and Design learning resources for adults, children, parents and teachers organised by topic.

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Art timelines for beginners

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TIMELINES

Timelines of Modern Art

The below timelines are used to graphically and logically illustrate the progression of modern art. They aim to educate and introduce topics using technology and the interactive capabilities of the web.

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TIMELINES The below timelines are used to graphically and logically illustrate the progression of modern art. They aim to educate and introduce topics using technology and the interactive capabilities of the web.

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A very good starting point, have a go at reading this.

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by Dan Scott

Being able to analyze an artwork is essential for developing as an artist and to fully appreciate what the great artists create. If you don't understand what is going on in a master artwork, how could you expect to learn how to paint it for yourself?

In this post, I discuss how to analyze art using a series of questions which you can ask yourself. My goal is to take some of the mystery out of why the great paintings work. I suggest after reading this post you try to analyze a painting for yourself using these questions.

You may find that once you develop a better understanding of what is going on in a great painting, you may gain a better appreciation of art. It is the same as listening to a world-class violinist perform a concert by Beethoven. If your ears are not trained, you will struggle to appreciate the significance of what they are playing.

The first thing you should do when analyzing an artwork is to break it down in terms of the visual elements. What do you see in terms of lines, shapes, colors and textures?

By doing this, you will be able to objectively analyze what you are seeing.

In the painting below by Childe Hassam, I have indicated how I see the painting in terms of the visual elements. Instead of seeing a lady sitting in a chair looking at the ocean view, I see...

Clusters of circular shapes for the plants and flowers;

Rigid shapes for the chair;

Suggestive lines on the ground to move you around the painting;

Lines on the dress to give a sense of form;

Varied colors and lines to create the illusion of plants and vines; and

Repetitive dashes of color in the clouds and ocean.

Have a think about what areas the artist wants you to look at. What areas are being emphasized and what areas are left vague? Where are your eyes drawn towards in the painting? Then, go a step further and analyze how the artist is emphasizing these areas.

In the painting below I see three main focal points; the busy jetty, the boats in the water and the tower in the background. My eyes seem to transition between these three points.

Claude Monet draws your attention towards these areas using value contrast and an increased level of detail compared to the rest of the painting.

Look at the artwork and let your eyes naturally follow through the painting. This can be difficult to do when you are trying to analyze a painting. Try to relax and don't overthink it.

The path your eyes take reveals a lot of information about how the artwork is put together. In the painting below I indicate the path my eyes take through the painting.

First, I am drawn into the painting with the dark reflections in the water. Then this leads into the lighter orange and white reflections of the buildings. Then I notice the main buildings and what appears to be a farm on the left. Then into the clouds and around to the top center of the painting. Then I follow the clouds back down into the water and along the reflections. Then I arrive at the bottom left of the painting.

Most paintings seem to be comprised of:

Elements which are connected and flow nicely together; and

Powerful statements which abruptly stop this flow.

For example, picture you are painting a rough seascape. Your strokes follow the turbulent movement of the water. But then there is an abrupt stop as the water crashes against the rocks. This abrupt stop goes against the flow of the water and creates a powerful statement in the painting.

In Claude Monet's painting below, blues of the sky connect with blues of the water. The soft edges also connect the distant land with the sky and the water.

Where the water meets the shore in the foreground, notice how there are dashes of light blue in the dark purple shore, and dashes of dark purple in the light blue water. Also, notice the horizontal brushwork used for both areas. This all helps connect these two areas.

The fluent connection comes to a stop at the land on the left of the painting. Here the horizontal strokes are met by vertical strokes, and the blues and purples are met by greens, reds and oranges.

You will be able to simplify most paintings down to a fairly basic color scheme. Here are some color-specific questions to ask yourself:

What are the main light sources and how have they influenced the colors used?

What is the dominant color temperature of the painting? Does it appear to have been painted under a warm, cool or neutral light?

What colors are pushed forward and what colors are held back? For example, maybe the reds and oranges are strong and saturated, whilst the blues and greens are dull and weak.

How would you describe the use of color saturation, value and hue?

Here is my color analysis of the below painting by Edgar Payne:

There is a strong complementary contrast between purples and yellows.

The yellow sky indicates that this is painted under a warm light.

There appears to be a theme of warm lights and cool shadows.

Most of the colors in the painting have a weak saturation.

The painting can be broken into two distinct value groups - the dark foreground and the high key background.

The painting can also be broken into three hue groups - the oranges in the foreground, the purples and blues in the background and the yellows of the sky.

Notan refers to the balance of light and dark elements in a painting. I wrote about notan in detail here.

If you are analyzing a painting in life, then you need to rely on your ability to translate color into value to see the underlying notan structure. But if you are looking at a photo of a painting, you can "cheat" by converting the photo to grayscale to clearly see the notan structure.

Observing the underlying notan design of a painting can reveal some interesting patterns and design features which may not be obvious on first glance. For example, it might reveal that a painting which appears to be extremely busy and active, actually has a very simple notan structure, like in the painting below by Giovanni Boldini:

Some paintings are built on a strong notan design, whilst other paintings rely more on the other elements like color and brushwork. Many paintings by the impressionists have weak notan designs but make up for it with a complex harmony of colors.

If possible, look closely at the painting to see the artist's brushwork. Observe the thickness of the paint, the variety of the strokes and the general direction of the strokes.

Here are some questions to help you analyze the brushwork:

Is there a common theme with the brushwork? For example, did the artist use thick and bold strokes for the lights and thin and weak strokes for the darks?

Did the artist use distinct strokes or blended strokes?

How did the artist paint the finer details?

Did the artist use large or small brushes?

If you want to see virtuoso brushwork in action, then check out the paintings of Joaquín Sorolla.

This is a very high-level analysis of the painting. Take a step back and think about what the artist is actually trying to say. What was the artist thinking when they painted it?

Sometimes it might just be to communicate the beauty of the landscape the artist saw. Or it might be something deeper.

In my painting below, I wanted to capture the depth of the landscape and the stunning blues of the distant mountain.

It is easy to look at a great painting through rose-colored glasses. Take them off for a moment and try to find mistakes or things you would do better. This is not designed to be a negative process. It is just designed to get you to think differently about the painting.

It is always important to question what you see. That is how you learn. Even if you cannot possibly do better than the painting which is in front of you, there is no harm in pondering over it.

What are the secondary colors?

What are the major shapes?

Are there any implied lines?

Are there any leading lines?

How does it make you feel?

What is the rhythm of the artwork?

What is the strongest form of contrast in the artwork? For example, green against red; thick against thin; organic against geometric; lines against shapes; dark against light.

Is there any directional brushwork? Think Vincent van Gogh.

What is the big idea?

What is the dominant value range?

Are there any light/dark/colorful accents?

What leads you into the artwork?

What is the gesture of the artwork? Or in other words, if you could indicate the gesture of the artwork with a single line, what would it look like?

Have any areas been simplified in terms of detail?

Is there a sense of depth and atmosphere (atmospheric perspective)?

What techniques were used?

What materials were used?

Are the scale and linear perspective accurate?

Is the artwork loose and relaxed or tight and refined.

Is there any broken color? Think Claude Monet.

What colors were used on the artist's palette?

What is the style (impressionism, realism, etc)?

Was the artist inspired by anything?

Did the artist create any preliminary sketches or studies?

Who/where is the subject?

Did the artist use the subject in other artworks?

I suggest you use these questions to analyze one of your favorite paintings. These questions might help you gain a better appreciation of what is going on.
(If you want to learn more about landscape painting, make sure to grab my free Landscape Painting Starter Kit).

Thanks for taking the time to read this post. I appreciate it! Feel free to share with friends. If you want more painting tips, check out my Painting Academy course.

Happy painting!

Dan Scott

Draw Paint Academy

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How To Analyze And Critique Art Plus Questions To Ask Yourself

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Being able to analyze an artwork is essential for developing as an artist and to fully appreciate what the great artists create. If you don't understand what is going on in a master artwork, how could you expect to learn how to paint it for yourself?

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Good site