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Learn How To Finger Knit (Easy And Beginner Friendly!)

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https://www.youtube.com/watch?v=h3BEgP5s9Pg

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HOW TO FINGER KNIT FOR BEGINNERS / FINGER KNITTING/ TUTORIAL PART ONE

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DIY MINI PAPER  DRAWERS / PAPER CRAFT/ SMALL ORIGAMI STORAGE BOX DIY / DESK ORGANIZER DRAWER

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How To Make Easy Paper Chameleon For Kids / Nursery Craft Ideas / Paper Craft Easy / KIDS crafts

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How to draw a girl with Butterfly in Moonlight for beginners || Pencil sketch || Art Video

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How to draw Basquiat - Inspired “Among Us” Crewmate

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Learn how to draw Amanda Gorman, an American poet and activist who has now performed both at an Inauguration and a Super Bowl.

Amanda Gorman is the youngest inaugural poet in U.S. history, as well as an award-winning writer and cum laude graduate of Harvard University. Any one of those accomplishments would make her an incredible role model, but all together? At only twenty-two years of age? Simply amazing.

This tutorial shows students how to draw Amanda's portrait in what is called a 3/4 view. It's very similar to drawing someone with a direct front view, just with a bit of a turn to one side.

MATERIALS

DIRECTIONS

Time needed: 45 minutes.

How to Draw Amanda Gorman

Now you can make your own Amanda Gorman Mural for your Classroom!

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How to Draw Amanda Gorman · Art Projects for Kids

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Amanda Gorman is the youngest inaugural poet in U.S. history, as well as an award-winning writer and cum laude graduate of Harvard University. Any one of those accomplishments would make her an incredible role model, but all together? At only twenty-two years of age? Simply amazing.

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Geometric Hearts | VALENTINE'S DAY ART PROJECT

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Watercolour Galaxy with Becky Starsmore 🌌

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2nd & 3rd Grade Lesson: Value: Animal Eyes

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How to Draw a Snowman Cute in Cartoon Cup of Hot Cocoa in Easy Step by Step Drawing for Kids

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How To Draw A Sith Trooper From Star Wars

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How to Draw AMONG US Happy New Year! 🥳 Party Hat

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Sarah Krajewski (Art Room Glitter Fairy)

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"Line Landscape" - COOL BEANS CLUB! - At Home Art with Mrs. K

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Art With Trista - Yayoi Kusama Inspired Winter Trees

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How to make easy paper snowflakes - Paper Snowflake #08

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How to Draw Baby Yoda Eating Chicky Nuggies ❤️

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With his curious hair and his whisper of a voice, Bob Ross was perhaps an unlikely TV celebrity. But he became one of America's most famous painters - not only for his creativity, but for his positivity.

"We don't make mistakes; we have happy accidents," he told his audience.

It was like watching a magician reveal the secret of his trade.
"Look at that. Isn't that a nice little tree?"
But at the height of his fame, at only 52, Bob Ross died of lymphoma. That was 26 years ago. And yet, the "happy little painter" is perhaps more relevant now than ever.

"We've been in a time when things have been so frantic, and people have been so stressed, and Bob Ross is the King of Chill," said Jessica Jenkins.

But what many may not know is that when Ross came into our homes all those years ago, he did it from a home in Muncie, Indiana.

"Nobody really thinks about where the show was made," said correspondent Lee Cowan.

"So many people are surprised they walk in and they're like, 'This is not a TV studio, this is a living room!' Yeah, it's a living room!" laughed Jenkins, who is a curator of that living room - what is now the Bob Ross Experience at Muncie's Minnestrisa museum.

This very spot is where for years "The Joy of Painting" was taped. His paint brushes, his palette and, of course, his easel are here.

"Every episode he would have a moment where he would beat the devil out of the brush - he would take it and be just thump thump thump thump thump," said Jenkins. "People come in and they recognize that [spot where the brushes were beaten] and they know exactly what that is."

But why Muncie? Because this was the home of the local PBS station, WIPB. Traveling through the Midwest on a teaching tour, Ross approached the station with the idea of teaching in front of a camera.

Cowan said, "He was an unknown painter though at the time, I mean nobody knew who Bob Ross was."

"They did not know who he was, but he had a lot of charm," Jenkins said.

Jim Needham was WIPB's general manager, and he knew Ross had something. "His mantra was, 'I'll never do anything harder than my audience is able, also, to do.'"

"It really wasn't just about painting; the show was about a lot more than that," Cowan said.

Needham said, "I think the show was about giving a person agency, and doing what they want to do or something they were afraid to do. And I'm not talking about painting. I'm talking about life."

Ross practiced his TV paintings for days, making sure that he could complete them in front of the cameras in less than a half an hour. Jenkins said, "He was very planned out and very methodical."

"But it sure didn't come off that way," Cowan said. "It came off very spontaneous and calm. It wasn't like he was racing through it!"

"That's the thing about Bob: You know that on the inside he was on a speed clock getting through that painting, but on the outside he was just so relaxed, and made it look so easy."

Part of the Bob Ross Experience is trying your hand at painting. For certified Bob Ross instructor Doug Hallgren, the discovery that anyone can do it is the real joy of painting.

"Sometimes we grab their hand and say, 'It's going to be okay, we're going to do this together, just trust me on this,' and they're like, 'Oh, it worked!'" Hallgren said.

It was a remarkable ego boost for everyone here. One young guest, Elia, said, "After sitting down and painting a painting, I really believe I could do anything!"

Ross' simplicity, though, often brought criticism. The art world had mixed reviews of him, said Jenkins: "There were certainly a lot of people who categorized him at kitsch art. But if you look at the canvasses that Bob did on his own time for himself, they are complex."

Like this elaborate seascape that hung in his own home:

Hallgren said, "The later he got on in years, those paintings just got sharper and sharper and sharper."

Ross rarely made a dime off any of his paintings, and never expected any of his works to ever hang in a museum. But recently the Smithsonian acquired four Bob Ross paintings to add to its permanent collection.

In that, at least, the man who just wanted to paint a happy little world has cemented his place in it as well.

Jenkins said, "The message of having self-confidence, of trying new things - that doesn't get old. And because of that, I think that it just continues to resonate for generation after generation."

For more info:
Story produced by Jon Carras. Editor: Carol Ross.

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The enduring popularity of artist Bob Ross

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With his curious hair and his whisper of a voice, Bob Ross was perhaps an unlikely TV celebrity. But he became one of America's most famous painters - not only for his creativity, but for his positivity. "We don't make mistakes; we have happy accidents," he told his audience.

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Quick and easy paper Christmas decorations

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How to Draw AMONG US Christmas Elf | Christmas #5

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Where Are All the Bob Ross Paintings? We Found Them.

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How to Draw AMONG US Santa | Christmas #1

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How to Draw Among Us Character Turkey #AmongUs #AmongUsThanksgivingTurkey #AmongUsCharacter

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You will need Popsicle Sticks

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Every year we have to make crafts and do activities related to the Grinch. It's just one of our favorite Christmas movies ever!

This year, we're sharing this popsicle stick Grinch. It's a fun grinch Christmas craft for kids that uses common supplies and lets kids break out the paint!

Besides being fun to make, it's a great way to spend time together as a family.

You can also add a string to the back and make it a cute, homemade Christmas ornament for the tree.

Watch our quick video tutorial below and see exactly how we made it.

Grinch Craft Idea

Supplies

Directions

Download the Grinch template, print, and cut out the pieces you need.

Begin to make the Grinch by cutting a popsicle stick into thirds with the scissors. Line up 4 popsicle sticks. Stretch out a glue dot onto the short popsicle stick pieces you just cut. Glue these to the 4 popsicle stick group in the top, bottom, and middle of the sticks.

If you prefer, you can also use hot glue to glue them onto the 4 popsicle sticks. We always seem to burn ourselves with hot glue, so we stick to glue dots 🙂

Flip the secured popsicle stick base over and paint a little over half of the length Grinch green. Paint the remaining bottom section red. Let dry completely before moving on. It only takes about 10 minutes to dry if you do 1-2 thin coats of acrylic paint.

Assemble the Santa hat by gluing the fluff to the bottom of the hat. Take a mini white pom pom and glue it to the tip of the hat.

Place the completed hat on the top of the green part of the popsicle sticks and glue in place.

Take the eyes and glue them a bit below the hat. Be sure to leave room for the eyebrows to go above the eyes. Cut out 2 small thin rectangles and glue them on as eyebrows or use a black marker to draw on angry eyebrows.

Use the black marker to draw on the Grinch's mouth. Take a mini green pom pom and glue it between the eyes.

Finish it off by gluing the Santa suit fluff on the popsicle sticks where the red and green paint meet.

Optional: Make this Grinch craft into an ornament by cutting a length of baker's twine, looping it, and taping it securely to the back.

Even though he's angry, he's somehow so cute too!

This craft is most suitable for older elementary children. If you want to do this craft with younger kids, you'll need to cut out the small template pieces for them. Depending on their age and skills level, they may also need help gluing the pieces on the popsicle sticks.

Share With Us

Did you make this craft with your kids or students? We'd love to feature them on our social media!

For a chance to have your child's craft featured, simply snap a picture of the completed project and post it to our Facebook page, email it to us directly by clicking here, or use #simpleeverydaymom on your social media!

More Popsicle Stick Crafts

Get Our Favorite Christmas Crafts!

Materials

Popsicle sticks

Red and green acrylic paint

Colored cardstock

Black marker

1 cm pom poms

Glue stick

Glue dots or hot glue gun

Scissors

Grinch template

Bakers twine (optional; for making into an ornament)

Tape (optional; for making into an ornament)

Instructions

1. Download the Grinch template, print, and cut out the pieces you need.

2. Begin to make the Grinch by cutting a popsicle stick into thirds with the scissors. Line up 4 popsicle sticks. Stretch out a glue dot onto the short popsicle stick pieces you just cut. Glue these to the 4 popsicle stick group in the top, bottom, and middle of the sticks.

3. Flip the secured popsicle stick base over and paint a little over half of the length Grinch green. Paint the remaining bottom section red. Let dry completely before moving on. It only takes about 10 minutes to dry if you do 1-2 thin coats of acrylic paint.

4. Assemble the Santa hat by gluing the fluff to the bottom of the hat. Take a mini white pom pom and glue it to the tip of the hat.

5. Place the completed hat on the top of the green part of the popsicle sticks and glue in place.

6. Take the eyes and glue them a bit below the hat. Be sure to leave room for the eyebrows to go above the eyes. Cut out 2 small thin rectangles and glue them on as eyebrows or use a black marker to draw on angry eyebrows.

7. Use the black marker to draw on the Grinch's mouth. Take a mini green pom pom and glue it between the eyes.

8. Finish it off by gluing the Santa suit fluff on the popsicle sticks where the red and green paint meet.

9. Optional: Make this Grinch craft into an ornament by cutting a length of baker's twine, looping it, and taping it securely to the back.

Free Grinch Popsicle Stick Template

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Popsicle Stick Grinch Craft For Kids [Free Template]

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Every year we have to make crafts and do activities related to the Grinch. It's just one of our favorite Christmas movies ever! This year, we're sharing this popsicle stick Grinch. It's a fun grinch Christmas craft for kids that uses common supplies and lets kids break out the paint!

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How to Draw Tutorials Click on the images to complete the drawing steps for the animals.

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Artist Edvard Munch wrote mysterious graffiti on his painting of The Scream, infrared scans have shown.

A small and barely visible sentence written on one of the world's most well-known paintings has been the cause of much conjecture in the art world.

The words, "Can only have been painted by a madman", are inscribed in pencil in the top left-hand corner.

Now, new tests made by The National Museum of Norway have confirmed they were made by the man himself.

The original painting, first displayed in Munch's home city Oslo (then Kristiania) in 1893, has become a radical and timeless expression of human anxiety. Its influence stretches as far as the 90s Hollywood Scream horror film series, and on to the modern-day emoji.

The artwork has undergone conservation in preparation for its instalment in the new museum, which is due to open in the Norwegian capital next year.

Art critics have long questioned whether the graffiti was an act of vandalism done by an outraged spectator, or written by Munch himself - who was known to have had mental health problems throughout his life.

The museum came to the conclusion the words were written by Munch, after using technology to analyse the handwriting and compare it with his own diaries and letters.

"The writing is without a doubt Munch's own," said museum curator Mai Britt Guleng.

"The handwriting itself, as well as events that happened in 1895, when Munch showed the painting in Norway for the first time, all point in the same direction."

In 1994, The Scream was stolen from a Norwegian art museum. It was recovered in a daring undercover operation by British detectives.

'Deep feeling of anxiety'

The work provoked strong criticism at the time along with public speculation around Munch's mental state.

Munch, according to his diaries, was profoundly hurt by the reaction and it's believed he returned to the painting to add his pencilled statement afterwards.

Both Munch's father and sister suffered bouts of depression and Munch was finally hospitalised after a nervous breakdown in 1908.

His mother and older sister both died before the artist turned 14, his father died 12 years later and another sister was admitted to an asylum, with bipolar disorder.

"For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art," Munch wrote.

"Without this anxiety and illness I would have been like a ship without a rudder."

In 2019, BBC Arts wrote that the work was "an expression of his anxiety at a turning point in history, in a world increasingly cut loose from old traditions," noting that "there are clear parallels in the world of today.

"This is surely why The Scream retains its power despite its ubiquity: it's a mirror of our own contemporary fears. Inside, aren't we all screaming too?"

The Scream will be displayed with a number of Munch's other works, including Madonna, The Dance of Life and Self-Portrait with Cigarette, in The National Museum of Norway from 2022.

Follow us on Facebook or on Twitter @BBCNewsEnts. If you have a story suggestion email entertainment.news@bbc.co.uk.

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Edvard Munch wrote 'madman' graffiti on Scream painting, scans show

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Artist Edvard Munch wrote mysterious graffiti on his painting of The Scream, infrared scans have shown. A small and barely visible sentence written on one of the world's most well-known paintings has been the cause of much conjecture in the art world.

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This is a game built with machine learning. You draw, and a neural network tries to guess what you're drawing. Of course, it doesn't always work. But the more you play with it, the more it will learn. So far we have trained it on a few hundred concepts, and we hope to add more over time. We made this as an example of how you can use machine learning in fun ways. Watch the video below to learn about how it works, and

Built by Jonas Jongejan, Henry Rowley, Takashi Kawashima, Jongmin Kim, Nick Fox-Gieg, with friends at Google Creative Lab and Data Arts Team.

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This is a game built with machine learning. You draw, and a neural network tries to guess what you're drawing. Of course, it doesn't always work. But the more you play with it, the more it will learn. So far we have trained it on a few hundred concepts, and we hope to add more over time.

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Twelve Easy Flower Doodles You Need To Know

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The exhibit is called "Papel Chicano Dos: Works on Paper from the Collection of Cheech Marin." It will be on display at the Colorado Springs Fine Arts Center at Colorado College until June 26, 2021.

Marin said the exhibit represents "a small fraction" of a personal collection he has been adding to for over 30 years.

A studied art history buff and collector, Marin personally seeks out each artist's work for his collection.

"I wasn't a zillionaire hiring other people to collect for me. I was working on it," he said. "So the pieces in the collection are very heartfelt. I don't pick art just to have it."

Raised in a blue-collar, working class Chicano family in Los Angeles, Marin grew up with a playful competitiveness with his cousins, who urged each other to seek academic study.

Marin met with Rocky Mountain PBS over Zoom to discuss his exhibit of Chicano art.

"My head cousin, Louie, assigned us all subjects to learn about and bring back to the group," he said. "And I got art! So I studied art from a very early age."

After looking at every art book in the library, Marin said he was hooked, finding joy in identifying major and minor artists, methods, and techniques.

"By the time I got to actually being able to purchase some art, I knew a lot about it," he said.

Marin said he found himself "in an extreme lucky position" to begin amassing works by Chicano artists, both celebrated and unknown.

"I was the right guy at the right time, with money. And I was a known celebrity," he said. "All those factors came together."

His collection now encompasses over 700 pieces. The distinction? "I always look for craftsmanship," he said.

The innovative idea that spurred this touring exhibit into motion came from friends.

"I had this big collection, and I showed my art friends. And they said, 'Well, you've got to show it! Because it does you no good in storage, or under the bed. People have to see this.'"

Nearly a decade of planning followed. Now, parts of his collection have visited over 55 museums and galleries nationwide- unheard of, he says, for a private art stash.

Marin found his personal collection of Chicano art outnumbered most venue's where he was showing.

"At most museums, I was telling them, 'I have this collection - because you don't,'" he said.

"Chicano art is American art," he continued. "Chicano is one definition of America - European plus Mexican - it defines a lot of what America is now. Chicano art is where traditional Mexican meets American pop."

Marin said the Chicano art movement began as the visual arm of the Chicano Civil Rights movement in the 1960s.

"Original Chicano artists like Carlos Almaraz and Frank Romero were the sign painters for that revolution," Marin explained. "They did the backdrops and the placards to show a visual sense of the political aspiration."

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Actor Cheech Marin brings personal collection of Chicano art to Colorado

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The exhibit is called "Papel Chicano Dos: Works on Paper from the Collection of Cheech Marin." It will be on display at the Colorado Springs Fine Arts Center at Colorado College until June 26, 2021. Marin said the exhibit represents "a small fraction" of a personal collection he has been adding to for over 30 years.

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FUN！AMONG US Magic Slider Card｜Gift Card DIY｜ARTS & PAPER CRAFTS tutorial

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How to Paint Planets with Watercolor | Art Journal Thursday Ep. 15

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Seattle artist Stacy Milrany created the "Free Little Art Gallery" to make art more accessible to the community during the COVID-19 pandemic. Milrany speaks to CBS News' Vladimir Duthiers.

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"Free Little Art Gallery" sparks joy across the world

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Seattle artist Stacy Milrany created the "Free Little Art Gallery" to make art more accessible to the community during the COVID-19 pandemic. Milrany speaks to CBS News' Vladimir Duthiers.

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Official Keith Haring website for children: fun interactive activities to inspire a love of learning and art, online books, authorized art shows, appropriate for children under 14. For parents and teachers, corresponding lesson plans for each section, and other resources

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Drawing and or Paper Collage

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Linda Block has lived in her home in Whitter for over 25 years. She'll admit she's not very creative, but Block knew the blank canvas on the side of her garage was crying out for some artistic attention. Now if you take a stroll down 24th Ave between Gilpin and Williams, you'll notice the city's newest edition to its collection of diverse murals.

"I had been thinking about it for several months especially since the racial upheavals of last summer and just the division in this country," Block said.

The wavy rainbow paneling unfurling outward from a black inner circle reading 'EQUALLITY' - with an emphasis on 'ALL' - was designed and painted by graphic designer and muralist Adam Raiola. Block reached out to Raiola after seeing his work on another mural across the street. She told Raiola that she wanted the mural to reflect what the neighborhood and larger community had gone through recently while still remaining positive. As luck would have it, Raiola already had a perfect design for Block from a previous project that fell through.

"I took one look at it, and it didn't take a nanosecond," Block said. 'That's it. That's exactly the message I want to convey.'"

"It touched on her message and my message as well," Raiola said. "And I think this landed at such a good time... 2020 I think, if nothing else, it has shown everyone that we need equality now more than ever."

Block dedicated the mural to Elijah McClain, a 23-year-old Black man who died in August of 2019 after police in Aurora restrained him with a chokehold that has since been banned.

"It made me start to question the fact that somebody, some anonymous person, called him in as suspicious because he was walking down the street with a head scarf slash wrap on," Block said. "There was nothing suspicious about it... it really made me stop and think about how I look at people and what I would consider suspicious."

It is also dedicated to Dorsey Cherry, a 78-year-old Black man and former Whittier resident who lived directly across the street from Block before he died of cancer in 2017. And while Cherry's story might not be as well known as McClain's, it is even closer to Block's heart.

"I'm an old white woman from Nebraska... our childhoods had nothing in common, but we just became very good friends and looked out for each other," Block said. "I still miss him terribly."

She wanted to keep Cherry's name in the neighborhood because he had lived there for over 30 years. Despite being quiet and unassuming, Cherry was known by most everyone in his community. He drove a garbage truck for Denver Waste Management and managed to keep with his early wake-up calls to shovel the neighbors' driveways, even after he retired. Block really stood by his side during his later years.

"He was a real integral part of this neighborhood," Block said. "I just really wanted him to be remembered."

Doctors found a mass in Cherry's chest in September of 2017. It wasn't until that December that he was contacted about further appointments. Block drove him to his appointment in December, but they did not further investigate the mass in his chest because they said he needed to see a dietician first regarding his diabetes. Block was irate. She didn't think he was getting the right care. Cherry graciously accepted her offer to advocate for him. Block marched back to the hospital saying to "tell his doctor I want to get a call."

"It just is almost stunningly neglectful," Block said. "I think the quality of care for Black people, or people of color... they don't get the same level of concern."

Cherry died of cancer in March of 2017. Up until that point, Block and other neighbors were taking care of him in between hospice visits. "This corner just came together and, really out of love and respect for Dorsey, took care of him," Block said.

To this day, Block still holds his memory close to her heart. Every year on his birthday, Block brought fried green tomatoes over to his house to celebrate. She has continued the tradition by visiting his burial site at Fort Logan every August 18th and bringing some unfried green tomatoes to leave by his name.

Block hopes the mural will be an uplifting sight during the daily passerby's commute. She wants the story behind the mural to remind people of the lingering legacy of Elijah McClain and especially Dorsey Cherry in hopes they'll embrace justice and get to know their neighbors.

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Linda Block has lived in her home in Whitter for over 25 years. She'll admit she's not very creative, but Block knew the blank canvas on the side of her garage was crying out for some artistic attention. Now if you take a stroll down 24th Ave between Gilpin and Williams, you'll notice the city's...

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Pick one!

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It's time for some spooky, well ehm adorable, Halloween origami for kids! Scary monsters, biting lips, blinking eyes and more!

These origami for kids projects are great both for kids and for beginner paper folders!

Are you ready for Halloween? I'm a fan of all things spooky and paper folding so this collection of easy origami projects is a must for me.

Who doesn't like to play with cootie catchers? Even more so if they are as spookily adorable as these!
Grab the templates and get folding!
I hope you have some garlic at hand as these vampire fangs are fierce!

Learn how to make your own vampire fangs origami. Vitamini Handmade

Books will be way more fun to read once they have these silly bookmarks on them!
Learn how to make spooky monster corner bookmarks.
We've also got a cute looking cat origami bookmark.

Or maybe bat corner bookmark s, they sure are fangtastic!

Don't have a skeleton to decorate your house with? Make these!

See how to make an origami skeleton. Origami Spirit

Can you really have a Halloween without a black cat? I think not (the fact I'm a total cat person also helps)

Learn how to make this adorable black cat. Pink Stripey Socks

Decorate your house with an origami garland!

Learn how to make this sweet pumpkin decoration. My Poppet

This simple Halloween origami for kids can double up as a mask!

Learn how to make a blinking eye! Krokotak

Boo! Who's afraid of ghosts? We certainly are not afraid of these little cuties!
See how to make an origami ghost.
You can make a whole room full of these!

See the instructions. Layers of Learning

Unlock VIP Printables - Become a Member

Become a member of Easy Peasy and Fun membership and gain access to our exclusive craft templates and educational printables. With brand new resources added on weekly basis you will never run out of fun things to make with your kids (either as a parent or as a teacher).

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It's time for some spooky, well ehm adorable, Halloween origami for kids! Scary monsters, biting lips, blinking eyes and more! These origami for kids projects are great both for kids and for beginner paper folders! Are you ready for Halloween?

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How to Draw a Cute Panda - Tattoo Idea - Geometric Drawing Tutorial

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legotruman/Lego Ideas

For decades, all you've needed to reproduce Vincent van Gogh's 1889 painting Starry Night was a brush, paints, a canvas and loads of talent. But soon you'll be able to construct a much easier version out of plastic bricks too.

That's because an intricate 3-D Lego set based on the Dutch master's magnum opus has just crossed the 10,000-vote threshold on the toy company's "Ideas" platform, meaning it's garnered enough support to get approved for production.

If you have any reservations about the structural integrity if a Lego version of a painting, fret not. There's proof of concept for the new Lego set, courtesy of user legotruman's mockup. Consisting of 1,552 pieces-an assortment that appears to go deep in the company well of brick shapes-the set is a vivid, three-dimensional recreation of the pre-dawn view from the artist's room at the Saint-Rémy-de-Provence asylum in the south of France, where he was a patient from May 1889 to 1890.

The brick model even manages to capture van Gogh's iconic, swirling brush strokes, recreating them with an assortment plates and curved parts. Completing the set-and our favorite features-is a mini-figure decorated to look just like the artist in his famous final self-portrait, which comes with a paintbrush, an easel and a small reproduction of Starry Night. So not only will you be able to build your own version of the work, you'll be building a diorama for your little Lego van Gogh to interact with.

There's no firm release date for the set and we assume some rights issues will need to be sorted out. But considering how frequently Starry Night, which has been a part of the Museum of Modern Art's collection since 1941, appears on merchandise, we can't imagine that will be too difficult. When the set finally is available, it will almost certainly join the 3,696-piece Lamborghini Sián FKP 37 and the 696-piece Ducati Panigale V4 R as one of the coolest Lego kits on the market.

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Vincent van Gogh's 'Starry Night' Will Soon Be a 3-D Lego Set

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legotruman/Lego Ideas For decades, all you've needed to reproduce Vincent van Gogh's 1889 painting Starry Night was a brush, paints, a canvas and loads of talent. But soon you'll be able to construct a much easier version out of plastic bricks too.

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Оригами КОРОБОЧКА МОЛОКА из бумаги | DIY Милые зверята | Origami paper milk box

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Roblox

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How To Draw A Panda Eating Cake From Minecraft

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In September, as wildfire raged in Medicine Bow National Forest, Karen Vaughan watched smoke billow in a choked-off Wyoming sky. The sun was reduced to a matte neon-pink disc behind the haze, and Vaughan worried about her research site in the burning mountains. One of her graduate students still had one more day of fieldwork to complete, and the roads would soon be closed, if they weren't already. Vaughan's family-her husband and two kids-were outside too, watching as a light gray layer of wind-blown ash settled onto the landscape. The ash and vivid colors sparked something in Vaughan, who continually sought new inspiration for the paint she makes. She began dashing around, scraping the sediment from every flat surface and encouraging her kids to help collect the fine powder. She decided to incorporate that ash into watercolor pigments with hues reflecting the fire, indelibly preserving the moment. The small batch of paints, distributed to friends and local artists, would be used to create depictions of the destructive forces that allowed their creation in the first place. "You're breathing that air, even in your house, and you look outside and see that weird orange glow," says Vaughan. "You couldn't help but be a part of that."

A soil scientist and a professor at the University of Wyoming, Vaughan sees a lot more soils than the average person, and certainly knows them more intimately. Over many years spent examining them, she has come to appreciate their natural beauty and immense variability. Two years ago, she began channeling that appreciation into a product she could share with the world, turning the soils she loved into watercolor pigments. Now, she and her collaborator, Yamina Pressler, a soil scientist at California Polytechnic University, use soils to make pigments and paintings, bridging the gap between science and art. By sharing both their creative processes and scientific knowledge on social media and connecting with artists, scientists and the public, they aim to make soil education entertaining.

Vaughan's research is in pedology, which means she studies minute, subtle changes within a soil. Does the size of the grains change? Do the colors fade into each other or get cut off abruptly? What microorganisms are present at different levels in the soil? The very nature of her field, she says, is subjective. "It is an art form," she says. "It takes a nuanced eye to really be able to see the changes within a soil."

Her job requires her to hop in a deep hole, map out tiny changes few people notice and interpret the soil's history. Her specialty is studying water in soils: How much is there? When is it present? How does it change the soil's chemistry? What features does it leave behind? Her work helps us understand how soils form in unique environments, like wetlands in the otherwise arid Wyoming mountains, and how fragile soils like permafrost might respond to climate change.

To the uninitiated, the landscape of Wyoming might seem like a monotonous stretch of tan dirt. But that idea is exactly what Vauhgan is trying to change through her art. By explaining to artists and curious laypeople how the myriad hues in soils come to be and sharing them visually through both her own creative works and those by other artists, she hopes to give people the ability to see soil as more than "just dirt."

"Sometimes art opens the door to people wanting to learn about science," says Laura Guertin, a geology professor at Pennsylvania State-Brandywine. Guertin too has brought art into science, both for her classrooms and her communities, by crocheting temperature records and quilting climate change stories. "Using different perspectives to introduce a topic, like soil, can help people understand and connect with it a little more."

Soil is often overlooked in basic geology classes, says Guertin, and understanding how it works and where it comes from is important. "Without soil, you don't have the rest of Earth's systems," she says. "It's such a fundamental material, it's the basis of our food systems." And society's indifference to soil led to the Dust Bowl, one of the greatest environmental disasters in the history of the United States. "With my students, I talk about the Dust Bowl and how it was a loss of soil that triggered a chain reaction, impacting a broad cross-section of society," says Guertin.

Vaughan began making pigments as a fun way to engage with her kids, now ages 7 and 9, and keep them away from screens. They come soil collecting with her, and occasionally help mix the pigments and paint. But the main reason she makes pigments now is to share her perspective on soils' inherent beauty with the public. "I found all these amazing soil colors," Vaughan says, "and I wanted to do something more with them. I wanted them to persist longer."

She recognized that by making paints she could share science with people who lack her expert training. "Spending all that time as a pedologist looking at soil formation and thinking about how much the colors of the soil can tell us about the natural history of that area, I wanted to let people in, open their eyes a little bit," she says.

Vaughan collects soils for pigments almost everywhere she goes, from dirt collected in a wetland study site high in the mountains to coal unearthed in her backyard. On a family road trip to Florida in a campervan, for instance, she grabbed a small bag of soil from every stop, with the intent of creating a palette that reflects that memory. One dull pandemic day, she and her kids took to their bikes on a scavenger hunt near her home for as many colors of the rainbow that they could find. It was a change of pace for Vaughan, who is normally more opportunistic than intentional in her soil collecting. She made a palette of red, brown, orange, white, yellow and purple to represent that effort. And, of course, she has the three-hue palette from the September wildfire, corners of which were still smoldering away when we spoke in November.

Because it was just a small batch, Vaughan distributed the ash-infused pigments to local artists and a few select clients to create works reflecting the wildfires. California artist Tina Pressler, Yamina's mother, painted a patchwork American bison, the West's once-ubiquitous megafauna, and Bethann Merkle, a Wyoming artist and science communicator, created a series of three abstract paintings of fire-wrought forest textures. The ash-infused pigments felt fluid and heavy, says Tina. "The addition of ash made it seem really tactile, in a way, and I loved it."

"I've long had a fondness for rocks-my windowsills are piled up with them at home and at work-but [Vaughan's] work and pigments have helped me expand that curiosity and appreciation to the soil," says Merkle.

Before Vaughan began sharing her pigments with artists, she had to spend some time getting the day-long pigment-making process down. It took her a few tries: "My first pigments," she says with a laugh, "were chunky and terrible. But I gave them away with a disclaimer."

In the first step of her process, Vaughan removes the sandy portions of the soil, leaving only fine silts and clays mixed in water, which she then pours into a cookie sheet and bakes in the oven for a few hours. After all the water has evaporated, the soil appears cracked and desiccated, like a mudflat after a long summer drought. "Look, mom, it's all wrinkly like you," her daughter once helpfully said. Vaughan grinds the baked silt into a fine, homogenous powder. Then comes Vaughan's most meditative step: mulling, or combining the soil with the watercolor medium- a mixture of water, gum arabic, honey and vegetable glycerin. Only then does she get a sense for what the final hue will be. "You might start with an amazing green soil that, all of a sudden, becomes this dull, greenish white. And that's okay," Vaughan says. "It's always a color I've never made before, so I'm thrilled."

The colors of the paint come straight from the soil's geologic past: Bright reds and oranges mean the soils were exposed to the oxidizing effects of intense climates, long stretches of time or both. Dark browns and blacks represent rich organic matter, reflecting the cycle of life and death at the Earth's surface. Brighter hues result from minerals with specific elements; the presence of copper lends minerals blue-green colors, sulfur creates vibrant yellows and manganese presents as faded purple. Stark whites could mean acid once trickled down through the soil from a pine copse, or that ash once settled over the landscape, like that which Vaughan collected in September.

"Everything has a story," Guertin says. "What's been here in the past? Where do these colors come from? Where do these materials come from that give us these colors? I love that [Vaughan is] taking the soil science and showing how you can break it down to materials, to these pigments that have cultural meaning and to painting, which people already have a familiarity with."

Vaughan describes her soil collecting, her artistic process and the science of each soil on Instagram, where she answers questions about chemistry, location and geology. Sometimes artists send in questions about the science of pigment-making itself, but many are just interested in learning more about the natural world. Depending on how much detail people want, she'll even send along some scientific papers in a private message. Because so many of her clients are interested in learning about the soils, Vaughan is planning to start including a "soil story" with each palette shipped out.

Vaughan's connections with artists sometimes grow from the virtual world to working together in person. Diana Baumbach, a Wyoming artist who Vaughan collaborated with a few years ago, loved going into the field with the scientist to forage for natural materials, including soil. "I really hadn't thought about soil or considered it as a material before," Baumbach said. "Looking at soil profiles with [Vaughan] was totally new for me. We both pulled each other into our worlds, which I thought were quite different. In the end, it was surprising how many intersections there actually were between my work and her work."

While Vaughan does paint with her pigments, she doesn't typically share her work; she leaves that to the younger Pressler, for whom painting has become a public affair. Growing up with an artist mother, Pressler says, meant that art was always in the background. "But it wasn't until I started painting soils that I began to embody being an artist as part of my identity."

Pressler also connects with an interested audience through social media. She hosts live paint-along sessions in her 'virtual soil art studio' on Instagram, inviting participants of all backgrounds to create soil-focused art inspired by where they live. These two-hour public sessions are open to children and adults, scientists and laypeople.

Tatiana Prestininzi, who has a bachelor's in agricultural science but never cared much for soil science, now brings her young niece and nephew to Pressler's paint-along sessions. "It's not only from the artistic side, but we're also getting the educational side of things," she says. "It's not just the 15-to-30-somethings on Instagram, she's got 7 and 5-year-olds learning about soil profiles... so now I can go hike around San Diego with my eight-year-old niece and have a conversation about the soils she sees. She'll ask to paint it and send it to the 'soil doctor.'"

Through Vaughan's art outreach and Pressler's educational outreach, the scientists aim to inspire in the public the feelings children have while digging in the dirt and wondering at the world around them. Vaughan's process of finding soils for pigments has a sense of play that is really infectious, says Baumbach. And while Pressler does draw soils realistically, she's more drawn to whimsical doodles that reflect her feelings towards soil, which she shares on her Instagram sessions, along with the science stories behind them.

Tapping into her artistic side has helped Vaughan re-imagine what college soil science classes can be. She has her students sketch frequently, and she occasionally has them paint with soils. Her collaboration with Baumbach led the pair to cross-pollinate art and science further, with Baumbach bringing her art students to Vaughan's science labs to talk about color and Vaughan giving guest lectures in Baumbach's art materials courses. "Really, basic things like observation and analysis are at the core of what we both do, and we're communicating through materials and visual forms," Baumbach says. "The students are just starting to think broadly about materials, so hearing Karen talk about soils as a raw material is really interesting for them."

In addition to giving talks about soil science and life as a researcher at K-12 schools and museums, Pressler works directly with teachers, taking them into the field and lab so they can get firsthand experience with soils. "They can then go back to their students and talk about soils and ecology, and the process of science, from their perspective," says Pressler. "It's more meaningful to the students that way."

Michelle Bartholomew, a middle- and high-school science teacher, jumped at the chance to head into the field with Pressler in Colorado and Alaska. They developed soil science classes together, did some drawing and studied soils. "That was the highlight of my time with her, working on those tundra soils," Bartholomew says. "It's doing science, you know? Even though we're science teachers, we don't get to do that. It rejuvenated me... and gave me new ways of teaching old concepts."

Pressler and Vaughan also believe in the importance of being role models who break out of the compartmentalization so common in science today. "It's about showing young people that there are lots of different ways to be a scientist," Pressler says, "that you can be colorful and explore different parts of your curiosity and still be a scientist."

"We used to be Renaissance people," Vaughan says. "Now it's, 'You need to stay in your box so you can do well at that.' I feel like we've almost made it okay to be artistic while also being a scientist."

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Meet the Soil Scientists Using Dirt to Make Stunning Paints

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In September, as wildfire raged in Medicine Bow National Forest, Karen Vaughan watched smoke billow in a choked-off Wyoming sky. The sun was reduced to a matte neon-pink disc behind the haze, and Vaughan worried about her research site in the burning mountains.

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Illustrator Nikita Golubev (aka ProBoyNick) is transforming Moscow, one dirty car at a time. The multifaceted artist approaches parked cars covered in filth and turns them into works of art. He sees layers of dust and dirt as perfect pigments for bringing the images hidden within to life. He shifts the mud and soot on vehicles into extraordinary portraits of animals and scenes of nature. Ultimately, what's one man's dirty car is this artist's canvas.

Though Golubev's canvas may be unconventional, it appears to be a welcome form of public art. His creative eye has allowed him to unearth ephemeral art from the least likely of places. In fact, this gifted street artist 's work is so impressive that the owners of these once-dirty cars may never want to wash them again.

Golubev's ongoing dirty car art escapades have unexpectedly found a temporary, beautifying solution to the grit and grime of his city. Though he isn't the first to "paint" with dust and debris, he's inspiring a new generation of street artists in his community to follow suit.

Vehicles covered in dust and dirt are being transformed into works of art, thanks to Nikita Golubev's ongoing dirty car art project.

Nikita Golubev: Facebook | Instagram | Behance
h/t: [ TwistedSifter, reddit]

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Artist Transforms Dirty Cars in Moscow into Incredible Works of Art

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Illustrator Nikita Golubev (aka ProBoyNick) is transforming Moscow, one dirty car at a time. The multifaceted artist approaches parked cars covered in filth and turns them into works of art. He sees layers of dust and dirt as perfect pigments for bringing the images hidden within to life.

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Paint online is the perfect video game for kids that are fond of drawing and painting. Kids need to let their creativity fly away, and what better way than giving them the tools to create Art? Painting is a great way to express yourself and communicate emotionally; kids don't just love to draw, they also need it to be able to communicate and to progress intellectually. Until a certain age children aren't able to speak or express themselves the way they want verbally or through speech, that is why painting is for them a way to express their feelings and thoughts. And, in the end, isn't that what Art is about?

In addition to that, kids have a lot of imagination, they love to make up stories and Paint online gives them the tools to create anything that is on their minds. With this paint online game their imagination will run wild and they will have a lot of fun without making any mess. Because kids painting can get pretty messy, right? Well, you won't have to clean up after them thanks to this online game and they will improve their computing skills. Nowadays children are surrounded by technology and need to know how to work with it, so it's always a good thing to show them how an Ipad, computer or mobile phone works and how to apply it to their routine. It is also a great way to introduce Art to your kids, whereas they are boys or girls, and it's a great way to get your kid to concentrate. When a child spends time painting or drawing he starts paying attention and getting really concentrated in what he is doing. And Paint online is a free game where kids will learn how to concentrate using any kind of painting tools, such as paintbrushes, markers, crayons, pencils, paint sprayers and a rubber to erase or correct any mistake. Thanks to Paint online the kids will improve their artistic education by learning the different colors, making the basic geometrical shapes and getting to know every kind of texture. Besides, it's very simple to use; they just have to choose one of the tools on the right and start using it on the white space. On the left they can change and choose new colors by clicking on the palette and once they are done they can print or safe their masterpiece. The kids can even change the thickness and size of the tool they are using in order to create smaller details or big paintings. Your kid will become such a true and great artist after playing Paint online that Da Vinci or Van Gogh will look like beginners next to your son or daughter! The best thing about this browser game is that your kid can play to it with an Ipad or Tablet, computer and mobile phone. It works with Android as well as with Iphone, and playing to Paint online is free! So show this game to your children right now and have fun creating Art pieces with them.

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Paint Online - A free draw, art and creativity game for kids

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Paint online is the perfect video game for kids that are fond of drawing and painting. Kids need to let their creativity fly away, and what better way than giving them the tools to create Art? P...

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Deep in the woods of southern France, artist Spencer Byles transformed the forest into a mysterious wonderland through a series of spectacular, organic sculptures. Byles spent a year immersed in the woodlands of La Colle sur Loup, Villeneuve-Loubet, and Mougins for this ambitious project. Surrounded by flora and fauna, the sculptor used only cables and natural, found materials to create his stunning, large-scale works of art.

According to Byles, many people come across his sculptures by chance in the woods. Met with the sight of towering, woven structures and suspended symbols made of twined branches, the viewer may question whether the mysterious installations were formed naturally, assembled by human hands, or left in the forest by supernatural forces.

The ephemeral nature of Byles' creations is integral to his work, as each piece exists in its completed state for only as long as the elements permit. The sculptor says, "The temporary nature of my sculptures is an important aspect of my experiences and understanding. I feel my sculptures are only really completed when nature begins to take hold again and gradually weave its way back into the materials. At this point it slowly becomes part of nature again and less a part of me."

Spencer Byles' website
via [ JedaVu Art]

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Artist Spent a Year in the Woods Creating Mysterious Sculptures

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Deep in the woods of southern France, artist Spencer Byles transformed the forest into a mysterious wonderland through a series of spectacular, organic sculptures. Byles spent a year immersed in the woodlands of La Colle sur Loup, Villeneuve-Loubet, and Mougins for this ambitious project.

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While most artists use graphite or paint to render realistic portraits, others find ways to use more unconventional materials. Turkish multimedia artist Deniz Sağdıç has developed a diverse body of work by upcycling various found fabrics. Denim Skin and Ready Remade are two ongoing projects in which she uses scraps of denim to render highly realistic and detailed portraits of men and women.

To do this, Sağdıç collects numerous denim materials in a variety of blue hues. She then cuts the fabric into squares, rectangles, or long strips and applies them to a canvas or board. The way in which the artist arranges each individual piece is similar to traditional media, in which the paler shades are used in more illuminated areas of the face, and the darker pieces are used for the shadows. This combination of modeling and texture gives these portraits a highly tactile and three-dimensional quality that is immediately striking. However, Sağdıç does not want to waste any part of her found materials, so while some pieces are made entirely out of flat swatches, others feature just the waistband and belt loops, or just the section with the button closure.

Scroll down to see more awesome denim art by Sağdıç, and follow the artist on Facebook and Instagram to keep up to date with her latest creations.

Turkish artist Deniz Sağdıç upcycles found denim fabric by using them to make realistic portraits.
Artist Hand-Carves an Ornate Patterned "Rug" Into a Wooden Floor These Brilliant Mugs Have Little Nooks on the Side Where Tiny Animal Sculptures Live Artist Captures Poetic Self-Portraits in Brilliantly Arranged Mirror Reflections Deniz Sağdıç: Website | Facebook | Instagram
My Modern Met granted permission to feature photos by Deniz Sağdıç.

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While most artists use graphite or paint to render realistic portraits, others find ways to use more unconventional materials. Turkish multimedia artist Deniz Sağdıç has developed a diverse body of work by upcycling various found fabrics. Denim Skin and Ready Remade are two ongoing projects in which she uses scraps of denim to render highly realistic and detailed portraits of men and women.

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Nearly 50 years ago, a year after Martin Luther King, Jr.'s assassination, as African Americans continued to struggle against ingrained prejudice in America, two librarians began talking about another part of that picture - that no black children's authors or illustrators had ever won either of the two most prestigious awards in the field, the Newberry and Caldecott awards, which dated to the early 20th century.

Within a year, that initial discussion between Glyndon Flynt Greer and Mabel McKissick led to the creation of the Coretta Scott King Book Awards: a specific honor for African American children's writers and illustrators, named after King's widow for her continued efforts to advance civil rights and for her late husband's historic legacy.

Today, staff at the Eric Carle Museum of Picture Book Art say those awards have become some of the most prestigious in children's literature, given they honor writers and artists who demonstrate an appreciation of African American culture and basic human values. And the museum is now recognizing many of those artists in its newest exhibit: "Our Voice: Celebrating the Coretta Scott King Illustrator Awards."

The show, which runs through Jan. 27, 2019, includes 100 works of art - a larger number than that of the typical Carle exhibit, according to museum curator Ellen Keiter - from 38 African American illustrators (and one writer/illustrator). It's the largest and most comprehensive presentation of Coretta Scott King illustrator winners and honorees ever assembled since the illustrator award was established in 1974, Keiter notes.

"We're literally reaching new heights," Keiter said with a laugh as she gave a tour of the show late last week and pointed to some examples of the art from the book "Radiant Child," for which Brooklyn illustrator Javaka Steptoe won the 2017 Coretta Scott Award. The panels were mounted about eight feet up the wall, above two other art samples set at eye level.

"We needed all of our gallery space for this show," said Keiter.

The exhibit touches on a wealth of subjects from African American history and culture: figures from the fight for equality such as King, Rosa Parks, Nelson Mandela and Sojourner Truth; artistic giants like Duke Ellington, Jimi Hendrix, and Langston Hughes; the grim legacy of slavery; the talented players from the Negro Baseball Leagues of the early and mid 20th century; and day-to-day life, like the celebration of haircuts for young African American boys in "Crown: An Ode to the Fresh Cut."

"Crown" is one of the 2018 Coretta Scott King winners, earning an Honor both for its illustrator, Gordon C. James, and its author, Derrick Barnes (the book is also a 2018 Newberry and Caldecott Honor winner). James, who lives in North Carolina, was one of a number of winning illustrators who came to the Carle Museum last weekend to see the new exhibit and talk about their work.

"I didn't want to be an illustrator," James, an oil painter, said during a panel discussion. "I wanted to make my art. But eventually I was drawn into this work. I liked the idea of reaching a lot of readers, and doing my art for children ... children deserve real art."

And Ekua Holmes, a Boston artist and director of an art program at the Massachusetts College of Art and Design, said her collage-based work felt like it would also lend itself well to children's books. Holmes won the Coretta Scott King illustrator award this year for the collages she designed for "Out of Wonder: Poems Celebrating Poets," a collection of original poetry inspired by the work of poets such as Robert Frost, Langston Hughes, Maya Angelou and 17 others.

"I like shapes and cuts and ephemera," said Holmes. "And I've always loved children's books. I could never give away the books I got for my son."

Different generations

The exhibition, organized by the National Center for Children's Illustrated Literature (NCCIL) in Abilene, Texas, features artwork from 100 award-winning books and is presented chronologically, starting with the first book to win a Coretta Scott King illustrator award, a children's biography of jazz great Ray Charles by Brooklyn artist George Ford, who's now 92.

Keiter says presenting the art chronologically gives visitors the opportunity to see the work of different generations of black artists, as well as how the materials they used have changed over the years. Some early award-winning books relied more on pencil, charcoal and pen and ink drawings, for instance, as color printing was more expensive in the 1970s and 1980s, she noted.

"Our Voice" also showcases two pairs of father-and-son artists. Jerry Pinkney, who has won 10 Coretta Scott King awards for illustration, is the father of Brian Pinkney, also a Coretta Scott King award winner. Whereas the elder Pinkney (who was also at the Carle last weekend) mixes watercolor, colored pencil and other materials in his paintings, his son creates illustrations via scratchboard, a white board covered in ink from which he cuts out a design, then fills those gaps in with oil pastels.

Another father-son duo is John and Javaka Steptoe. For his 2017 award-winning book, "Radiant Child: The Story of Young Artist Jean-Michel Basquiat," and a 2011 profile of Jimi Hendrix, Javaka Steptoe used scrap wood he found in New York and Seattle, respectively, to create textured collages that he painted and silk-screened. In exhibit notes, Steptoe says he works with collage as a way of keeping in touch with his roots.

"For me, collage is a means of survival. It is how Black folks survived four hundred years of oppression, taking the scraps of life and transforming them into art forms. I want my audience, no matter what their background, to be able to enter into my world and make connections with comparable experiences in their own lives."

Steptoe's notes, and those of the other artists in the exhibit, are drawn from audio clips of all the illustrators, which visitors can listen to at two iPads in the gallery. "I think being able to hear these artists talk directly about their work and the books they've worked on brings another dimension to the show," said Keiter.

Given children's literature, like much of U.S. society, was dominated for many years by whites, Keiter says the Carle Museum is thrilled to partner with the Coretta Scott King Book Awards Committee to present the work of African American artists in the new show. "Any time we can do something to promote diversity, we want to be involved," she said.
For more information on "Our Voice" and other exhibits at the Eric Carle Museum, visit carlemuseum.org.
Steve Pfarrer can be reached at spfarrer@gazettenet.com.

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Our Voice: Eric Carle Museum showcases African American artists of children's books

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Nearly 50 years ago, a year after Martin Luther King, Jr.'s assassination, as African Americans continued to struggle against ingrained prejudice in America, two librarians began talking about another part of that picture - that no black children's authors or illustrators had ever won either of the two most prestigious awards in the field, the Newberry and Caldecott awards, which dated to the early 20th century.

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At age 24, Mark West is one of the youngest artists -- if not the youngest -- to open an art gallery in the Bronx.

As an African American gay male, West has become a springboard for other local African American artists -- especially those who identify as LGTBQ -- who often feel they lack a platform.

This weekend, the House of Mark West Gallery hosted "Celebrating Black Voices," an exhibition showcasing African American artwork, dance, poetry and music.

"Being here really means a lot to me because growing up as an African kid in a European space we only saw American artists," said performer Shishani Vranckx, a Namibian artist raised in the Netherlands. "We didn't know about African stars."

Vranckx teared up Saturday night before singing her song "Minority," which has been nominated for two awards at the Namibian Annual Music Awards.

"As a queer person of color ... you have to justify your existence everywhere you go," Vranckx said. "Being in this space, I am getting emotional being here with you guys, to be in this space."

"If I cry, just let me cry," she added.

For West, it's about creating a truly safe space without exclusion, a space he doesn't see available specifically for black artists in the Bronx.

"We want to offer emerging artists proper visibility," West said. "There is currently no space for these people to go."

For West, the gallery model has for too long involved black and brown artists looking for attention from whites.

"The new narrative is we can get support from our own communities," West said. "We can lift our own selves up. We can create our own content. We can produce our own film, open our own galleries."

After graduating from New York University with a liberal arts degree, West cycled through seven jobs in two years before landing a $60,000 position in corporate finance. In the hours he didn't spend in his cubicle, West poured himself into painting. His friends took notice and encouraged him to pursue it full-time.

West was hesitant, but decided to set up some of his paintings along 14th Street to see the public's reaction. He sold two paintings on the first day. The next weekend West sold nine pieces, earning enough money to cover his entire month's rent.

"I realized in the moment, 'I never have to apply for a cubicle again,'" West said. He quit his finance job six months later, after earning enough side money to start a small gallery.

West's Long Island Gallery opened in May 2019, and by its second packed show, guest artists were selling their paintings. West quickly realized his gallery wasn't only a space for his work, but a place to uplift the experiences and expression of all black voices. Seeing a need for such a space specifically in the Bronx, West moved his gallery in October.

The art that covered the walls of West's 500-square-foot gallery Saturday night ranged from surrealism to modernism to photography, all created primarily by local black or brown artists. Although widely different in style and medium, all the art had one thing in common: It was created by artists who had finally found a place to belong.

"Not to emphasize the pun, but it feels really surreal," Christian Santiago said, gazing at his 3.5-by-3-foot surrealism painting.

It was the first time a gallery had showcased his art.

"I never felt like I would do something like this," he said. "It's very rewarding."

Five-year-old Princess Prince, the gallery's youngest artist, has been creating art since she was 2. It was also the first time her art had been displayed in a gallery. She wore her favorite pink sweater for the occasion.

"I'm going to be famous today," Princess told her mother, Liz Lanette, on their way up the four flights of stairs to the gallery's door.

Three weeks earlier, her father had showcased his art in the same gallery for the first time.

"It's both of our first professional debuts," said Tashan Prince, who'd graduated from Lehman College in 2019 with a degree in fine arts.

"Her art, they're things you could see at the Met or MOMA. I went to art school and have an eye. I'm not just saying that because I'm her dad. I'm proud of her, really proud," he said.

Creating spaces for black and brown artists to connect is Mark West Gallery's ultimate goal.

"That's the first thing I say with every event we have is, 'Please connect with someone next to you. Don't leave here not knowing someone,'" said Kamara J. Hodge, the co-founder of K&B Productions, a production company working alongside the House of Mark West.

"We want people to leave with one friend or Insta buddy," said co-founder, Brandon Smith.

Their first-ever short film, "Bill and Robert," following the lives of two black, gay men in 1967, had its debut Friday evening.

At the end of each act, audience members pulled out their phones as artists shared their Instagram handles and website addresses. At the end of the evening, attendees stood chatting and exchanging contact details for an hour after the event.

"More often than not I'm the one person of color in the room," said Sheree V. Campbell, describing her typical experience as a woman of color who's worked nine years in production and entertainment. "Places like this, they give a platform for us artists to bring our work to light ... we need more platforms like this where we all just lift each other up."

Venus Air, a nonconforming, black, improv artist, glanced around the room and asked the audience: "Do you know who your brothers and your sisters are today?"

Leaning into each other's arms, glancing behind and in front of them, audience members nodded in collective understanding. "Victory is won when we're not alone," Venus Air said.

"I can't even explain how much I needed last night, and I didn't even know," Angie Swan, a black female guitarist who's played with with Fifth Harmony, Adam Lambert, and currently plays for David Byrne, said the day after the event. "To be in a space with so many fellow black artists was so cathartic and necessary."

From the moment artists enter his gallery to the moment they leave, West says his message is the same: "You are welcome here, you are accepted, you are home."

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Lack of representation prompts African American artist to open Bronx gallery

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At age 24, Mark West is one of the youngest artists -- if not the youngest -- to open an art gallery in the Bronx. As an African American gay male, West has become a springboard for other local African American artists -- especially those who identify as LGTBQ -- who often feel they lack a platform.

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Can you spot the differences in these two Disney themed pictures? Pause as needed.

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DISNEY | Spot the difference Brain Games | Child Friendly | 10 rounds plus a special bonus round

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create a playground or city

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SNOWMEN AT NIGHT - Read Aloud w/ Music & EFX

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Make a mini book with one piece of paper

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Make a mini book with one piece of paper

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How to make a zine from one piece of printer paper

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Art or Prank? | The Art Assignment | PBS Digital Studios

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All about Painting

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Make a puppet with a lunch bag, the bottom flap becomes the mouth

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The Boy Who Kept Drawing

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Mr. Guera Reads ...Keith Haring: The Boy Who Just Kept Drawing

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DOs & DON'Ts: How to Draw Realistic Eyes Easy Step by Step | Art Drawing Tutorial

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A Whale sculpture saved a derailing train, and the people inside.

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Aptly named "Saved by the Whale's Tale," the art installation prevented a potentially deadly accident in the Netherlands

smithsonianmag.com

Early yesterday, a Dutch train and its operator narrowly avoided an accident after ploughing through the barrier at the end of the metro's elevated rails. Luckily, instead of plunging 33 feet and crashing into the ground below, the car landed precariously on an enormous sculpture of whale tails that flanks the end of the tracks.

The train operator, who was the only person on board at the time of the crash, was able to free himself from the wreckage and sustained no injuries, writes Daniel Boffey for the As first reported by Dutch news agency Media TV, the accident occurred at the De Akkers station in Spijkenisse, a suburb of Rotterdam, around 12:30 a.m. local time. No other people were harmed in the incident.

Officials don't yet know the cause of the accident, but they've launched an investigation to determine how the train's safety features failed, Ruud Natrop, a spokesman for safety in the Rotterdam-Rijnmond area, tells Isabella Kwai and Claire Moses of the New York Times. Police interviewed the conductor but found no indication that he had done anything wrong, Natrop adds.

By mid-morning Monday, word of the crash had spread, and dozens of people gathered to catch a glimpse of the spectacular near-disaster. As the Associated Press reports, local authorities urged crowds to disperse, reminding them that Covid-19 precautionary measures were still in effect.

"It's like the scene of a Hollywood movie," Natrop tells the Times. "Thank God the tail was there."

Now-retired architect Maarten Struijs designed the sculpture-which consists of two large whale tails raised about 33 feet above the ground-in 2002. Coincidentally, notes Agence France-Presse (AFP), the artwork is named Saved by the Whale's Tail. It riffs on the idea of a "tail track," the phrase used to describe the bit of track where trains park at the end of service, reports Dutch news website DUIC.

Struijs tells DUIC that he received a phone call notifying him of the accident while reading the newspaper with his morning cup of coffee. He expressed shock that the sculpture, which is made of reinforced plastic, was able to support the weight of the train car.

"I could never have imagined it that way, but it saved the operator's life," Struijs tells Dutch broadcaster RTL. "The damage is an afterthought,"

He adds, "I am amazed that it is so strong. ... When plastic has stood for 20 years, you don't expect it to [hold up] a metro train."

Speaking with Dutch broadcaster NOS, Struijs says that the image of the damaged metro balancing on his sculpture resembles, in his eyes, "a work of art in itself." He notes that photos of the scene remind him of (or Red BMW), a 1987 conceptual art piece by Kunst & Vaarwerk that features a life-size red car protruding through a parking garage wall as if frozen mid-fall.

As of Tuesday morning, an operation to salvage the train with two large cranes was ongoing, writes the Associated Press in a separate report. On Monday, Carly Gorter, a spokeswoman for the local security authority, told the AP that officials were working to figure out how to safely extract the train from its perch.

The removal will be "tricky," noted Gorter.

Photographer Joey Bremer arrived at the scene shortly after the crash. His images of the lofted metro car won viral acclaim on Twitter; as Bremer tells the Times, he woke up on Monday to thousands of retweets and hundreds of messages.

"I stood there full of disbelief," the photographer says. "I've been doing this job for about years, but this is one to remember. You can't make this up."

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In Fluke Accident, Sculpture of Whale Tails Saves Train From 33-Foot Plunge

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smithsonianmag.com Early yesterday, a Dutch train and its operator narrowly avoided an accident after ploughing through the barrier at the end of the metro's elevated rails. Luckily, instead of plunging 33 feet and crashing into the ground below, the car landed precariously on an enormous sculpture of whale tails that flanks the end of the tracks.

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Animated READ ALOUD of "Invisible Scribble" by Diane Alber

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Easy way to draw a realistic eye for Beginners step by step (Using only 1 pencil)

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Contemporary Art and Quiltmaking Influences

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Contemporary Art and Quiltmaking Influences

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This increasing recognition can be traced back to the 2002 exhibition " The Quilts of Gee's Bend" at the Museum of Fine Arts, Houston, which traveled to the Whitney Museum of American Art and several other esteemed U.S. institutions. The show featured quilts from Gee's Bend, Alabama, a town where women have been making quilts out of scrap fabric for generations. These quilts are multicolored and abstract; artists such as

and Gloria Hoppin incorporated various geometric forms in their work, and many critics drew comparisons to abstract masters like

. After this vital show, quilts entered the realm of fine art in a pivotal way, and critics at publications like the New York Times lauded them as virtuosic works of art.

Now, quilts are far more common in fine art. Generations of emerging and established artists are being recognized for embracing the medium:

,

, Dawn Williams Boyd,

, Michael A. Cummings,

, Bhasha Chakrabarti, and

all feature quilting prominently in their practices.

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How Quiltmaking's Deep Traditions Are Influencing Contemporary Art

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This increasing recognition can be traced back to the 2002 exhibition " The Quilts of Gee's Bend" at the Museum of Fine Arts, Houston, which traveled to the Whitney Museum of American Art and several other esteemed U.S. institutions. The show featured quilts from Gee's Bend, Alabama, a town where women have been making quilts out of scrap fabric for generations.

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Paint like an artist in this painting game. Play cool free art games, digital painting, quizzes and puzzles on Tate Kids

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This artist brings objects to life by doodling on them