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The overall composition moves from the past (left) to the present (right). This is further established with the baby and present images. The composition creates the narrative of freedom and youth (bright colors and nature collage) dwindling over time due to expectations from society (becoming dark and soiled textures, showing discomfort).

The temple covering everything is a symbol of tradition being overbearing in this society. Although we all have personal stories, in the end, our personal opinions do not matter. To me personally, the temple is both a source of comfort and suffocating expectations.

The sharp, black impasto strokes coming from the sides and charcoal represent the feeling of suffocation from external factors.

The gold is used to bring the composition together but is also a symbol. It references the Chinese-Cambodian burning rituals, a source of my comfort. Meanwhile, it intoxicates society (in a literal and non-literal way).

The Khmer scripture is an extract of the “Chbab Srey”, the women’s code of conduct. Shows the stereotypes and expectations put on people, especially girls, in Cambodian society. I feel that it still has some, few but still some, comforting messages.

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Malena Final Piece 5 hidden meanings within my piece

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Malena Final Piece 5 hidden meanings within my piece

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The car symbolises a bubble of familiarity and safety, representing the way that many expats, like me, stay in familiar, “safe”, westernised environments, instead of immersing into Cambodia's culture. The fact that I am depicted sitting in the driver's seat (without ability to drive) alludes to an overwhelming situation that I don't know how to navigate/handle.

Repetition of colourful circles/dots alludes to a colourful crowd of people (dots = heads), that displays a sense of diversity, disorganization yet harmony, to represent the lively ambiance of Phnom Penh.

The letters dispersed around the car pertain to the languages familiar to me, which are entirely different to Khmer language characters. They represent my western education and the way in which it shapes and takes over my perception of Phnom Penh, and prevents me from fully understanding the culture.

The white geometric lines that disperse around the car imitate the shape of streets on a map, which represents the “perfect” organization in Frankfurt, Germany, and the fact that I find it easy to navigate.

The space left between the foreground and background creates physical distance between my “bubble”, and Phnom Penh. This highlights the fact that I view Phnom Penh from a distant, Westernized lens, rather than being immersed in it.

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Interview

GRAFF- FONKi's roots remain in graffiti & Cambodia

"Graffiti & Hip Hop culture was & still is a way to connect to any culture & country I go to paint"

LiFTED Roger Yiu 22 Nov 2021

Cambodia was once the center of the world but has had one of the roughest histories of any Asian country. The former French colony has suffered calamities, regime changes, Japan's occupation, civil wars, and notably, the devastating reign of the Khmer Rouge from 1975 to 1979, which eventually led to the most ruthless genocide of the 20th century with 1.5 to 2 million deaths. It is estimated that 90 percent of academics and artists were executed or exiled during the Khmer Rouge regime. This annihilation of a generation of artists severely crippled the passing down of traditional Khmer arts, but a handful of new generation artists in various mediums have managed to salvage the long-lost arts. One of these artists is FONKi.

Raised in Montreal, Canada from Cambodian parents who sought refuge from the Khmer Rouge genocide, FONKi always had a strong bond with the traditional Khmer culture despite growing up in Canada. FONKi started tagging his name everywhere from the age of four but got hooked on graffiti when he was 15 and has since been obsessed with this art form.

In 2012, his life took a big turn as he starred in a feature documentary, The Roots Remains, where he documented his return to Cambodia. There, FONKi started using Kbach style, a unique form of graffiti that incorporates the intricate Khmer elements with the expressive hand styles of graffiti. This eventually caught a lot of attention and boosted FONKi's career. Now, he has become a world-renowned artist who extended his talents outside street arts into fancy galleries and auction houses, yet his roots remain in graffiti and Cambodia.

Tell us about your upbringing. How did an Asian kid from Montreal get his head start to become an artist? Have your parents always been supportive of you pursuing the path of art?

I have always been a drawer as far as I could remember. In fact, I remember drawing stuff when I was only three years old. But what truly opened the door to becoming an artist was the graffiti culture I plunged into when I was 15.

My parents have always been extremely supportive when I started studying art at school. They were a bit concerned though during my teenage years because I was always brought home by police because of vandalism. Good thing I turned that into a career!

How did you get introduced to graffiti?

You are also widely recognized as the inventor of Kbach graffiti, a unique style of lettering that welds traditional Khmer art with a modern aesthetic. Tell us more about the process. What is the inspiration behind it and how did you balance the authenticity and the new elements when coming up with Kbach?

When I went to Cambodia in 2012 to shoot the documentary film The Roots Remain. I wanted to rock walls that reflected our Khmer Culture. So during the first month, I went to Angkor Wat and studied elements of the Kbach ornaments engraved there, and then I got this Kbach Book!

I didn't invent anything, I simply mixed traditional graffiti piece letterings with existing Kbach ornaments. It's like cooking, you know! Shout out to my man Peap Tarr and homegirl Lisa Mam who have been rocking street art murals with Khmer/Kiwi elements since 2010. It's cool to see over the past decade a little scene blooming from practically nothing to what we have now.

Can you tell us more about the distinctive features of Khmer arts?

How has the Western world responded to your art?

You have been involved in many different projects, both commercial and artistic. What is the most memorable experience in your career?

Cambodia's art scene is going through a renaissance after decades of oppression from the menacing Khmer Rouge. Do you feel, as a Cambodian of the newer generation, you have the mission to help revive the culture and promote it to the world?

As a second-generation immigrant, have you ever had an identity crisis as you feel dissociated from your own culture? If so, has graffiti been your way to link with your roots?

Lastly, if you are provided the opportunity to paint wherever you want, where would it be?

Bring me to the moon!
Check out FONKi's Instagram here and you can watch The Roots Remain below.

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GRAFF- FONKi's roots remain in graffiti & Cambodia

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"Graffiti & Hip Hop culture was & still is a way to connect to any culture & country I go to paint"

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Pinterest Board of mine with artworks that have Many Fine Layers

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Pinterest Board of mine with artworks that have Many Fine Layers

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Explore a hand-picked collection of Pins about Many Fine Layers-2D works on Pinterest.

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Tips for organizing yourself and managing your time in big projects

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Tips for organizing yourself and managing your time in big projects

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Managing state of mind -- Practise focus and concentration -- Practise strategies to develop mental focus -- Practise strategies to overcome distractions -- Practise being aware of body-mind connections -- Demonstrate persistence and perseverance -- Practise delaying gratification -- Practise strategies to overcome impulsiveness and anger -- Practise strategies to

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2021 August timeline for lessons and use of time this unit 

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2021 August timeline for lessons and use of time this unit 

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Keep On Layering! Making More Mixed Media Layers

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fast forward to 2;20.

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Art Supply Review: Water Soluble Graphite

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Shealyn Art HL_ Unit 1, A Sense of Place (2019)

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Blank template (you should use edit this presentation) for this Project

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Blank template (you should use edit this presentation) for this Project

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It’s not UNconditional love because if it was, we’d be doing a sense of place, United Nations.

The ideal Cambodian girl is often referred to as a flower: delicate, elegant, beautiful, and just

stay put and be pretty. This is why my artwork takes the shape of withered frangipani. The

fact that the flower is withered is supposed to represent our exhaustion, younger generations

are tired of tolerating such sexist judgments and expectations just because “it’s the old way”

.

The newspaper, wall putty, and ink medium that is seen throughout the flower are done to

create a vintage sense of place, to portray the fact that these traditions and expectations go

way back. The colorful pieces that spread throughout the flower starting from the stem

represent the range of deep-rooted emotions, the love, and intention that is behind

everything. The anger because older generations were raised with these ideals, they will try

to enforce these ideals onto you as that’s their way of loving us, to know what’s best for us.

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Possible ideas you could focus on for this Phnom Penh unit

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Phnom Penh photos of Riverside Stall Sellers

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Phnom Penh photos of Riverside Stall Sellers

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The vendors plying their trade on Phnom Penh's streets play an invaluable but under-appreciated role supporting life in the capital. But using their makeshift riverside studio, two photographers set out to place these overlooked workers in the spotlight

October 6, 2020

Sout Srey Ni. Photo: Greg Mo

While Cambodia has remained insulated from the worst effects of the virus from a public health perspective, economically, the impact has been devastating.

In the capital, this downturn is perhaps most visible on Phnom Penh's riverside - its low-cost hostels and hotels once the jump-off point for the Kingdom's backpackers heading to the temples of Angkor or the beaches of Koh Rong.

While shuttered businesses and empty restaurants offer tangible and unmissable signs of the downturn, less observed is the effect on the street sellers and food vendors plying their trade on the capital's waterfront, minus a large chunk of their clientele.

This pandemic reality was the inspiration behind a recent photography project by Cambodia-based photographers Raphael Pech and Greg Mo, whose portraits spotlight the overlooked workers carving out their living on the capital's streets.

"This series is to honour everyday people. They tend to be almost invisible and insignificant in Cambodian society," Pech told the Globe. "They deserve light and to be honoured as an important part of informal activities that help so many people to survive in Cambodia."

Called Irving Penh, the project's name is a play on renowned American photographer Irving Penn, famous for his stark portraits in which he rejected ornate backgrounds and placed his subjects at the centre of the viewer's gaze.

In a similar fashion, Pech and Mo created a makeshift photography studio in the Riverside district of the capital - a plain white backdrop placing the sellers front and centre.

"We paid a small amount to ask them to come into our studio as they were giving up their time," said Mo, a French photographer and resident of Phnom Penh. "To take these photos in the studio, you give more attention to the individual. You see the person, it is more powerful than to see them in the street."

The result is transformative - the sellers and their goods given a new vibrancy in their removal from the diluting effect of their usual dynamic Phnom Penh backdrop.

Gucci-clad 33-year-old Srey Da from Prey Veng province, her gold outfit clashing with the red dried fish she sells. 25-year-old Sophy, a seller on the riverside for three years, his basket of grilled banana and cakes wrapped in vibrant-green banana leaves. Others, like sugarcane seller Pisey and Srey Neang, mounted on her bicycle, have brought their tools of the trade inside the studio.

Pech's images, distinct from Mo's in that they are shot in black and white as he himself is colourblind, are part of a longer-running project.

The son of a French mother and Cambodian father, Pech first returned to the Kingdom in 2001 in search of familial ties, lost after decades of war and strife, as well as the passing of his father as a boy.
Raphael Pech's Instagram can be found here, while Greg Mo's portfolio of work can be found here and his Instagram here.
Today, he regards his documentation projects as part of an ongoing "identity quest through photography", in which he can reconnect with his heritage.

"I've been completely disconnected with the Cambodian diaspora, so I grew up with a lot of identity issues," he said. "Photography has been a therapeutic way for me to connect with my Cambodian identity. I'm only working to show the world the beauty of Cambodian people."

Read more articles

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Irving Penh: Portraits of Phnom Penh's riverside sellers

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Vendors plying their trade on Phnom Penh's streets play an under-appreciated role supporting life and livelihoods in the capital.

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Some great layered works on her website and stimulus for combining media and techniques together

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Some great layered works on her website and stimulus for combining media and techniques together

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Helen Wells

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Art, inspiration and sketchbook ideas from artist and author Helen Wells. Online sketchbook and art journal classes.

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Accordian book style.

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Moleskine make 2 sizes of what they call a Japanese Notebook which I recommend. If you would prefer to make your own then prepare a long strip of paper (possibly two lengths taped together) w 9am c h 14cm. There are 60 folds in the Moleskine. I will leave the amount up to you. The paper doesn't have to be white.

Drawing Gardens, Landscapes and Natural Forms (4 weeks) starts on Tuesday 12 May. For more information and to book click here

For tonal drawing or line, ink (black or sepia) would be ideal. If you have walnut ink, even better. Tones of one colour whether watercolour or coloured pencil could also be used. Otherwise, all watercolours, gouache and inks are suitable.

Depending on your individual circumstances, this exercise invites you to move around the space, your space, to observe the plants or trees inside or outside. Later in the day you may remember and imagine the forms.

The forms will have an effect on your sensibilities. I would like you to hold onto those feelings whilst you draw the plants and trees and the space they inhabit. Your feelings will alter a little as the atmospheric light changes during the day.

Remember that everything you care about is permanent for you but in the world everything is in a state of flux. It is little wonder that we want to grasp the essence of what we see. In our attempts to express this essence properly, it has to proceed from within.

Make a new drawing in each square, like two lines of a poem, a couplet. The advantage of making drawings in sequence is flow - the flow helps you find a sense of unity. Your design will now show a rhythm, and reveal a pattern; everything in Nature shows these.

Hsieh Ho, a Chinese scholar of the 5th century, said that of all the qualities that a good drawing must have, the most important is depth of feeling with rhythm of all of all living things.

Artworks from top:

Aanal Chandaria, Wintering in the Palm House, Royal Botanic Garndens, Kew, pen and walnut ink in accordian book, 9 x 14cm, 2016-17 / Photos: Clare Newbolt

Drawings by alumni of The Drawing Year (in order) - Tyga Helme, Cheri Smith and Kate Kirk

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Drawing Paradise Exercise | The Royal Drawing School

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Great natural layers in her work

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Visual Musings on the Natural World

"Nothing in my life motivates, inspires, challenges, and completes me quite like the simple act of making art."

Sylvie Thiriez

NIKE: Artist Pack x Eva Magill-Oliver

Selected Stories

French linens designer Sylvie Thiriez invited Eva to collaborate on a bedding collection inspired by Eva's art. The set featured bright, layered botanicals and crisp white textiles for a feel that was both sophisticated and fun.

Eva's work was featured in a 4-piece running capsule for Nike's Artist Pack, a workout collection designed for and by women. Eva conveyed the clarity and freedom she feels while running in the meditative style of her collection.

Eva was commissioned to design a custom cover for Selected Stories by Elizabeth Bowen. The cover features Eva's watercolor work in a stunning natural palette and her signature nature-inspired shapes.

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Eva Magill-Oliver | Visual Artist and Designer | Greenville, SC

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Eva Magill-Oliver is a visual artist and designer based in Greenville, South Carolina. Her work takes inspiration from the natural world, incorporating organic colors, shapes, forms, and textures. In addition to creating many original works, she has collaborated with brands including Nike and Anthropologie.

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Explore a hand-picked collection of Pins about Many Fine Layers-2D works on Pinterest.

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An interesting layered effect that could work for some?

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An interesting layered effect that could work for some?

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How to paint from an abstract background - Acrylic Technique

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Dawn Tan

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Discover (and save!) your own Pins on Pinterest.

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Aug 27, 2011 - This Pin was discovered by Naomi Messier. Discover (and save!) your own Pins on Pinterest

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Fluid Ink tutorial with Wendy Brightbill

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Fluid Ink tutorial with Wendy Brightbill

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Hello and welcome to a free preview of my course, Oil and Water. In this twenty minute lesson, watch as I show you just a few of the techniques covered in this online art class.

Supplies:

yupo paper

high flow acrylics

acrylic inks

alcohol inks

artist pens and markers

watercolor paintbrush

water spray bottle

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Creative Wanderings with Wendy Brightbill

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Baking Soda and vinegar effects with acrylic ink

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Baking Soda and vinegar effects with acrylic ink

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As I was writing up our collection of two ingredient paint recipes it occurred to me that I have never shared one of our favorite and most simple homemade paints, baking soda paint! My boys have a fascination with erupting paint recipes, and baking soda paint is the most basic of recipes. The best part is that you most likely have everything you need to make it.

Directions: To make baking soda paint I put about an eighth of a cup of baking soda in a measuring cup and add liquid watercolors until I am happy with the amount of color. Then I fill the cup with water to the quarter cup mark and mix well with a whisk. The measurements truly do not need to be exact. The basic rule is that you don't want the paint too runny or it won't fizz a whole lot. You don't want it too thick, or it won't spread easily. An even amount of liquid and baking soda works well. If you are using food coloring instead of liquid watercolors, less color is needed and more water.

I prefer to use watercolor paper with our erupting paints since there is a lot of liquid. If you don't have watercolor paper, any thicker paper should work. Avoid using thin paper like butcher paper since it could tear when moist.

Peanut and Tank (3) love covering the watercolor paper with baking soda paint. I don't tend to give directions during the painting process, but with erupting paints I encourage covering large areas with color. The eruption will be much more noticeable this way.

After painting I give the boys pipettes and a container of vinegar. Spray bottles or squeeze bottles can also be used. Keep in mind that the faster vinegar is added the wetter the paper will become. Again, this isn't a huge deal with watercolor paper. No matter how many times we make baking soda paint, the kids are always delighted to watch the fizzing reaction.

We've making baking soda paints in every combination of colors over the years, but most often I try to use complimentary colors. The results of the blending colors are beautiful, and the paintings dry and can be displayed.

The added benefit of making erupting paints is that using pipettes, squeeze bottles, and spray bottles boost fine motor skills.

My boys are very exploratory, and we put a heavy focus on the art process. In this case, long after painting and dropping splashes of vinegar on the paint, Tank and Peanut continued to mix the colors and vinegar in a variety of ways.

Please note that baking soda and vinegar can be handled safely, but children should avoid touching their eyes until after hand washing. Open exploration with baking soda paint and vinegar can be a bit messy. Here are tips for messy play as well as laundry tips to avoid stains and keep clothes bright.

For more homemade paint recipes follow me on Pinterest.

More erupting paint recipes:

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Two Ingredient Homemade Baking Soda Paint As I was writing up our collection of two ingredient paint recipes it occurred to me t...

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Discover (and save!) your own Pins on Pinterest.

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Student work produced in my drawing courses

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Visual Communication
School of Architecture and Built Environment, University of Newcastle, 2021

A course designed to introduce students to the conventions, tools, and languages of architectural communication, this curriculum begins with a few simple, tectonic gestures and walks them through a series of operations in different media. Alongside this process, a lecture series covers a range of topics, keywords (which we unpack and demystify) and exemplars of different techniques in the history of design practice.

Almost incidentally, students learn design as they are exposed to generative methods, to gestures and investigations both formal and narrative, and to the codes of composition, We cover sketching, Rhino, physical modeling, drafting, orthographic projection, photography, image editing, layout software and manual and physical rendering. Students develop their sketching skills, and begin to wear-in the path from brain to hand, by attempting to draw every slide of every lecture (some 1000 sketches which invariably become more fluid).

Part I
We begin with free drawing and capturing time by drawing a dancer and mapping her path. We move into rhino, where students follow a set of rules to create a model of interacting forms.

These models are smashed, their parts printed, and made directly into physical models, which are then measured and drafted - each students learning these laws through their unique composition.

Part II
We site the subjects (anywhere, anywhen) and go through a series of formal iterations through which they adapt to their locations and conditions. They then select and develop a mixed media drawing set influenced by a drawing Guide of the students' choosing.

The guides include Lebbeus Woods, Raimund Abraham, Thom Mayne & Morphosis, Archigram, Hans Hollein, Zaha Hadid, Marion Mahony Griffin, Zoe and Elia Zenghelis, Aldo Rossi, Rafael Moneo, Peter Salter, Peter Eisenman, Smout Allen, William Kentridge, Mark West/Surviving Logic, Christine Hawley, Neil Denari, and Jones, Partners. Students draw from their bodies of work, studying and interpreting their methods and media.

We engage, then in processes of "enactive copying." From Patricia Cain, "My aim was to try to understand that artist's decisions through the logic and force of drawing. By doing this, I might discover something about an artist's approach that I could not have accessed from either looking at or theorising about the original drawing. As a 'visual to visual' model, copying might have the advantage of avoiding the synaptic jump one has to make as one moves from 'looking at' a drawing to making assumptions about the intentions of the artist. By choosing this option, I would be questioning why the method works rather than if it works, and trying to find out what stops it from merely being a transaction around style."

(Patricia Cain, "Making Thinking Visible: The Method of Copying" (2010) Etnofoor Special Edition on Imitation, 22:1, 5)

Mai Phuong Nguyen, part I

Mai Phuong Nguyen, part II

Mai Phuong Nguyen, final set

Steph Campbell, final set

Gallery of Part II drawings

1 Cooper Farmillo, 2 Harrison Doherty, 3 Mason McDougall, 4 Hanzhi Zhou, 5 Jeffery Castillo, 6-8 Johnny Villoso, 9-11 Ethan Scotney, 12 Tal Nelson, 13-14 Sam Orme, 15 Madeleine Lock, 16-17 Nathan Walshe, 18 Jordan Ritter, 19 Cade Howell, 20-21 Lucy Butler, 22 Cristian Bravo Morales, 23 Veruska Ceidel Rodrigues, 24-25 Tomi Langdon, 26-27 Kate Widdup, 28 Hannah Brookfield, 29-30 Andre Talafua, 31 Maggie Carr, 32-33 Allan Parmenter, 34-35 Jake Dempsey, 36 Dili Perera, 37 Daniel Turner

1 Joshua Medbury, 2-3 Brad Witham, 4-5 Flynn Oliver, 6-8 Gem Henderson, 9 Mollie Frith, 10-12 Connor Jackson, 13-14 Evan Richmond, 15 Brendan Deacon

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Visual Communication
School of Architecture and Built Environment, University of Newcastle, 2020

Hallie Burgess, final set

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Design Communication
School of Architecture, University of Western Australia, 2016
First and second year students in architecture, landscape architecture, and elective students from the broader university.

In this course, we began with machines (defined as anything that facilitates an act of translation from one state to another). Students sourced machines (cheaply or for free) and deconstructed them to their irreducible parts. They then drafted the pieces at 1:1, and imagined them into a new machine, with a new, but shifted, purpose. They designed the scale and determined the sites where the machines would be located, and transformed and developed them digitally through a series of iterations. They finally construct a perspective of the machines, animate some element of their movement, and render them using digital, manual, or mixed methods. The final compositions combine 9 layers of drawing on drafting film and detail, cultivating depth though backlining, collage, masking, and the use of dark and light media.

These images are details from larger, A1 compositions.

Calvin Markham

Gabrielle Patterson

Hae Yun Jung

Jinfa Wu

Jacob Lam

Junyan Liu

Kay Martin

Leslie-Claire Howard

Marissa Shearsmith

Kenny (Matthias) Widjaja

Nick Kotsoglo

Oliver Hill

Rebecca Ho

Renae Rabel

Rohan Golestani

Rosie Baird

Tai Nhan Dang

Yuxin Yang

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Design Communication
School of Architecture, University of Western Australia, 2015

First and second year students in architecture, landscape architecture, and elective students from the broader university.

In this course, we began with machines (defined as anything that facilitates an act of translation from one state to another). Students sourced machines (cheaply or for free) and deconstructed them to their irreducible parts. They then drafted the pieces at 1:1, and imagined them into a new machine, with a new, but shifted, purpose. They designed the scale and determined the sites where the machines would be located, and transformed and developed them digitally through a series of iterations. They finally construct a perspective of the machines, animate some element of their movement, and render them using digital, manual, or mixed methods. The final compositions combine 9 layers of drawing on drafting film and detail, cultivating depth though backlining, collage, masking, and the use of dark and light media.

Process - Part I: machine deconstruction

Drawings - Part II

Georgia Woodward

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Design Communication, level two Drawing Workshop Arct2001 2013
School of Architecture, UWA
Slow Drawing/Temple To/Layered Thing
tutors: Kate Fitzgerald, Kieran Ward, Jordan Blagaich, Sally Farrah, Ben Juckes, Yam Lapaz.

Synopsis
These are thick, dense drawings produced over nine weeks from sketch to render. They involve the sketching of a skull, the fragmentation of a piece of it, the construction of a fictional terrain, the development of a hand drawn "temple", the walking of this temple through digital space into an evolved form, the illustration of a moving part and the rendering and rubbing of a final iteration of the object.

Catalogue

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Beth George is an educator and practitioner in architecture in Perth, Western Australia. She is an Assistant Professor at the University of Western Australia and a director of Post- and co-founder of Spacemarket.

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Appropriation in artwork- how you can make a social or political statement.

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Appropriation in artwork- how you can make a social or political statement.

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hogret | Mixed media art techniques, Mixed media art, Mixed media collage

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Jan 9, 2012 - DeviantArt is the world's largest online social community for artists and art enthusiasts, allowing people to connect through the creation and sharing of art.

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Mar 13, 2017 - Hello and Hi my dear crafty buddies :)         As always I am very happy to be back to you.   Let's talk about Texture again... I have 25 n...

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collage journeys: Drawing Workshop | Abstract drawings, Art techniques, Art inspiration

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Jun 15, 2022 - Discover (and save!) your own Pins on Pinterest.

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Art Inspired / Pastel | Soft pastel art, Oil pastel techniques, Oil pastel art

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Oct 11, 2018 - This Pin was discovered by Juzelle Venter. Discover (and save!) your own Pins on Pinterest

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youtube video demonstration

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May 7, 2018 - Visit us online at http://sakuraofamerica.com/oilpastel-drawingFind a retailer near you at http://sakuraofamerica.com/store-locatorFind us on Facebook at htt...

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not to be confused with oil pastel!

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Crucial Pastel Painting Techniques for Beginners | Liz Haywood-Sullivan | Soft pastels drawing, Pastel art, Soft pastel art

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Sep 29, 2016 - A free mini-lesson on pastel painting and how to draw with pastels. Learn pastel techniques for beginners, and how to work safely with pastels.

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Discover (and save!) your own Pins on Pinterest.

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May 16, 2011 - This Pin was discovered by Sandy Keating. Discover (and save!) your own Pins on Pinterest

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basic water colour techniques using salt and glue (I think)

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basic water colour techniques using salt and glue (I think)

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Sep 24, 2012 - This Pin was discovered by Mont Marte. Discover (and save!) your own Pins on Pinterest

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Sep 18, 2013 - Disegno e pittura in pratica per diffondere la cultura e la pratica delle arti figurative. Lezioni di disegno e pittura gratis

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This lady is great for acrylic paint and collage tutorial inspiration

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This lady is great for acrylic paint and collage tutorial inspiration

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Jane Davies

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youtube jane davies - Yahoo Search Results Video Search Results

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The search engine that helps you find exactly what you're looking for. Find the most relevant information, video, images, and answers from all across the Web.

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A good example for how you should lay out your experimentation page

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A good example for how you should lay out your experimentation page

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Fine art. GCSE 2011. OCR. Final exam preparation (OCR-set task). "Gone fishing". Larise Jermy. William de Ferrers School.

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found on the OCC

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Some different functions that art can have

(remember, a single artwork can have more than one!)

Expressive function – expresses the artists’ feelings

Descriptive function – records the likeness of a place or person or other subject.

Conceptual function –the idea or concept behind the work is more important than the object

Practical function-has a practical use, such as clothing, vessels, furniture, a building

Religious function – tells a religious story or is an object of devotion.

Historical narrative function- tells a story of an event in history

Commemorative function – made to honour someone (like a statue of a famous person)

Political function- serves a political purpose, such as propaganda.

Symbolic function – symbolizes certain beliefs or ideas without representing them.

Decorative Function- used to adorn the body, a room, a building etc.

Ritual function – used as part of a ritual or ceremony, or has magical powers.

Shock function – intended to shock or upset the viewer

can you think of more?

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Art Terms and Vocabulary to use for your analysis and comparison task

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Art Terms and Vocabulary to use for your analysis and comparison task

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Jessica Russo Scherr | Artist - Educator

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Process Portfolio PPExhibition EXComparative Study CSIB Art RequirementsSelected AssignmentsIndependent Work CriteriaStudio Themes/IdeasFollow Jessica's board IB Art on Pinterest. Follow Jessica's board Visual Art Journal on Pinterest.Acknowledgment: This page is geared toward my IB Visual Arts Students and is based on the IB Visual Arts

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How artists capture environments | Modern Art & Ideas

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How to avoid creating cliched artwork. Article based on similar theme to this project.

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How to avoid creating cliched artwork. Article based on similar theme to this project.

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Last Updated on September 1, 2023

Starting a new unit of work or responding to an exam question can be a daunting prospect for even the most confident of high school Art students. It is often difficult to ensure your work is totally original, especially if you have picked a theme that may already have been responded to lots of times before. It should be an exciting challenge to try and make work that is innovative and individual, but sometimes avoiding cliché can be difficult.

When your work is assessed, there isn't a box to tick that says you need to avoid the cliché in order to be successful. However, arts-based students should be aware that markers, assessors and university/college interviewers are likely to have seen countless portfolios containing similarly themed work. Those assessing your portfolio often become oversaturated seeing huge amounts of work, so it is important to stand out from the crowd. Your portfolio has to prove that you are skilled, alongside showing that you are an originator and innovator of ideas.

To help you avoid making cliché responses to a theme or exam question, this article looks at the artwork of A Level Photography student Ella Kasperowicz from Thomas Alleyne's High School. Her response to the 'Built Environment' question from the A2 AQA A Level exam paper was innovative, creative and meaningful. Ella was awarded full marks ( 100%) for both AS and A2 Photography and gained an A* grade overall.

The Built Environment is a theme that has been used exhaustively in the past. Students often think they have to interpret a theme in a million different ways and draw / photograph one unrelated thing after another, however this can result in disconnected and incoherent outcomes. The key to success in responding to any theme/question is to ensure that you experiment in lots of different ways, but spend time making important, discernible decisions about which ideas and techniques will be the best to develop into successful and meaningful outcomes. Ella's work has a lot of experimentation and, crucially, a confident and clear progression of development that answers the exam question while creating a personal response. Ella's work is made more individual through her incorporation and development of textiles with photography. The combination of creative disciplines enables Ella to make unusual responses to her ideas and convey meanings and messages that are sophisticated and individual.

Ella's initial photographs taken in response to the Built Environment (examples shown below) were shot in New York. The photographs, which were a logical and conventional start to the unit, changed entirely by the end of her project and were used as a means to carry challenging ideas and meanings concerning the changes in the built environment in New York post 9/11.

It can be difficult to create work that references serious global issues without being too blatant. Ella's headscarf/hijab and patchwork quilt (shown below) create a subtle and intriguing way of challenging the viewer to respond to the varying views surrounding 9/11 without directly using images that are too suggestive or offensive.

The patchwork quilt wasn't only selected as a means to incorporate textiles - it was relevant for its cultural significance. In many cultures, a patchwork quilt is used as an object/device for sharing stories and social history. By using the idea and symbol of the quilt, Ella was able to create an object of greater context and interest that was as much a document of social history as it was a piece of artwork to resolve her ideas.

In the images above and below, Ella recreated images of built environments out of photographs of hands layered into different positions. The handscapes form new environments which create a new potential and possibility for the viewer.

If you are starting a new high school Art project or want to avoid the cliché in your own artwork, the 9 steps below may help you avoid the obvious and create something original.

9 steps for avoiding the cliché in an Art project

Research common and cliché responses to the theme you intend to explore, so you know what to avoid in your own work.

Create an extensive moodboard and plan of different artist ideas and imagery to refer to as you develop your ideas. This is an essential part of the planning process and allows you to creatively combine research, inspiration images and annotated ideas together. Your moodboard and initial plan are also an effective way of showing examiners your initial ideas and thoughts.

Make the time to explore current artist work as well as traditional artist responses to a theme.

Have a broad research base and look on sites other than relying on Google to be your sole source of influence. Sites like Behance, Flickr and Carbonmade, Talenthouse, ArtServed etc are all continually updated and full of creative inspiration to get you inspired.

Look for successes in places that might be overlooked. Take the time to review your work by yourself and with others to target areas of development that you may have missed.

Don't just stop at one outcome. Think about how you can redevelop your work in other ways, which could push your ideas further and create a more individual response.

Keep an open mind when you develop your work - don`t try to force yourself too much in one direction. Be open-minded to new ideas and exploit these in your work. You will always be more personal and innovative if you can be free to develop your ideas on other tangents.

Remember that you can develop ideas in many different ways using unexpected mediums and processes. For example, photography students may approach image-making without a camera and think beyond the conventional photography. In Ella's case, textiles and craft skills were just as essential to the development of ideas as her initial photographs.

Be experimental... but always take the time to select the best media and techniques to further develop your work into the most meaningful outcomes.

An Interview with Ella Kasperowicz about her A Level Photography work
Were you concerned about making cliché work?
Ella: In a way yes; I like to be original and combine different elements of design in each project I do. Often I aim for my outcomes to be quirky and alternative so that there is little to compare them to, which I hope makes my work more interesting to look at.
What steps did you take to avoid making work on a theme that had already been done?
Ella: I was initially worried that the New York and 9/11 theme for my photography work had been overused, so instead of just focussing on the study trip I looked at how it affected me, linking my experience in America to home. My project thus is a reflection of my journey, making it personal to me. I also wanted to address how the 9/11 disaster predominantly led to unity of cultures, using Islamic, Japanese and Western components in my collage work. It was inspiring to me how people managed to still find hope in a time where a nation was broken. As well as conceptual originality, a combination of materials and unusual processes like waxed teabags, fabric printing and origami made my work a completely fresh interpretation of the theme.
What were you most pleased with?
Ella: Overall I was pleased with the connections that make seemingly completely different images fit together in the same theme - ideas like hope, repetition, architecture and comfort. Specifically I enjoyed the collage work and invention of the 'handscape' the most, and the way I was able to combine photography with applied art.

What did you do to finalise your project?

Ella: At the end of the project, I swapped all of the images and artist research in my mood board for my own images and analysis. It felt an adequate way to conclude the journey by showing the start point and end point in the same form.

What tips would you give to students before they respond to a unit of work?

Ella: I would say that you should go into a project with an open mind. If you know exactly what you want the outcome to look like before you start, then you don't give yourself the chance to explore and experiment with lots of different materials and techniques. I would also advise them to stock up on double sided sticky tape and befriend the suppliers of it!
Would you change anything differently if you had the chance to respond to the theme again?
Ella: In an ideal world I would have loved to have gone back to New York to take more photos! I used the trip as inspiration for the project and if I would have known I was going to take the approach I did I would have photographed paper cranes around the memorial, visited the memorial at night and asked people's opinions on the disaster whilst I was there.
A talented and driven student, Ella's portfolio was strong enough to allow her to gain direct entry to university, rather than taking a Foundation course first (this is a one year course taken by most Art students in the UK, prior to beginning a university degree). Ella is now studying an Illustration degree at one of the top universities in the UK for Photography and Illustration.

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How to Avoid the Cliché in a High School Art Project

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Starting a new unit of work can be a daunting prospect for even the most confident of high school Art students. Read how to avoid producing cliché artwork!

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Examples of Appropriation may help you for task 7 in this unit

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Examples of Appropriation may help you for task 7 in this unit

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We all probably know these beloved Western art masterpieces, but not like this! Here are 20 great examples of classic paintings that have been reproduced creatively by a few very creative art lovers with photo cameras. It all began when booooom.com partnered with Adobe to create the Remake project,…

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Mother and Child appropriation great example for modernizing subject matter through media

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Mother and Child appropriation great example for modernizing subject matter through media

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Beautiful sketches capturing Asia in a sketch book

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Beautiful sketches capturing Asia in a sketch book

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Visual travel journals-great inspiration for mind mapping Phnom Penh

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Visual travel journals-great inspiration for mind mapping Phnom Penh

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A sense of place travel photography of cambodia example/inspiration.

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A sense of place travel photography of cambodia example/inspiration.

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Gemma has travelled extensively so look at her other countries photos as well if you like. I absolutely love her images.

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To celebrate the countdown of our upcoming adventure, I've been posting past travel shots - just so you can get an idea of what to expect once we're off and away on that jet plane. One week to go!

Cambodia - what an incredible country. Andrew and I had the opportuntity to visit just over a year ago, and it has left a big impression. We visited the famous temples of Angkor Wat and it's surrounds, plus lesser known and further a field temples such as Koh Keh and Beng Mealea. We also had the privilege of visiting Sunshine House, one of the many projects started and continued by Awareness Cambodia. Cambodia will steal your heart, I warn you!

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line x shape x colour is all about creating and being inspired. whether it be making something, travelling to far-away lands or listening to some awesome tunes - this is a place where it all collides.

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-Lay out for process portfolio pages and do's and dont's
-art terms
-Experiments using an artist's style/techniques and how meaning might be conveyed through them.
-Intention and purpose for each page before constructing it
-signposting criteria
-The sheet that says how many pages of each they require for each criteria
-photographic record of sculptural process
how to deepen conceptual qualities
-which art mediums they are required to use and document for PP
-Where to find great resources for Art. How to research. use the books in the library
-Finding resources in Cambodia that can inspire skills
-When starting your Comparative studies write down as may thought provoking questions that will fulfill the criteria and try and answer them that way.

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A sense of Place student task sheet 2019-has since been updated with slightly different tasks

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A sense of Place student task sheet 2019-has since been updated with slightly different tasks

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A Sense of Place student task sheet

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a great video Using the elements to making an abstract like painting in a variety of mediums

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a great video Using the elements to making an abstract like painting in a variety of mediums