OK Magazine

OK magazine is a huge phenomenon around the world and specializes in celebrity gossip and news. Since launching in April 1993 in the UK, the magazine has over 30 million readers and appears in 19 different countries. Some of these countries include India, Spain, Greece and Bulgaria. The magazine was originally intended to be marketed and sold monthly. Due to its high success in 2006 it was decided to publish it weekly. The magazine also has two other magazines inside it called hot stars and OK USA. You can also read OK online, and follow the magazine with twitter and face book. With more people, using their computers and this type of technology to keep up to date with news and gossip, this was a good step for the magazine to take.

OK Magazine is most well known for its exclusive interviews and weddings. The magazine also is very popular for reporting engagements and pregnancies of the top celebrities. Often the stars will sign exclusive contracts with OK magazine, ensuring they have the gossip and news before any other magazine. Some of the most featured celebrities are Jordan aka Katie Price, Peter Andre, Kerry Katona and the Beckhams, these all feature regularly in the magazine.

The magazine had a policy for many years to only publish positive celebrity profiles. Brittany Spears changed that when her interview with the magazine in 2007 went so badly wrong. Brittany's behavior was classed as so erratic that the magazine decided to break their policy and publish it. OK magazine then went on to interview her mother and sister and were the first magazine to publish the news regarding Jamie Lynn being pregnant. Brittany went onto do a second interview in 2008; she discussed her erratic behavior and said it was all behind her, which lead to a much more positive interview being published.

OK magazine is most famous for its celebrity weddings. Its biggest celebrity weddings to date are, Catherine Zeta Jones and Michael Douglas, Victoria and David Beckham and Jordan and Peter Andre. The magazine is also well known for covering more than one wedding on the same day, and has in the past been able to cover and publish up to 3 celebrity weddings in one edition. Jade Goody is the most featured celebrity she did many interviews and photo shoots before her tragic death in 2009. She holds the record for being on the front cover every week during 2009. There were 2 issues following her wedding. The magazine also published editions, with her on the front page for her christening, her tribute special, and one after her death.

The magazine is not without controversy and over the last few years it has pushed the boundaries. It made the decision in 2009 to publish an official tribute edition for Cancer stricken Jade Goody, even though she was still alive. Months later, the magazine did the same thing with Michael Jackson, showing graphic photos of his resuscitation whilst strapped to the hospital trolley. Some readers classed both of these editions as tasteless and unnecessary but the majority still bought the magazine, which means OK published what their readers wanted.

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The Beginner's Guide to Computer Animation - 3D Animation Software

Anyone that enjoys art and loves cartoons will most likely be intrigued with animation and find computer animation fascinating. Animation came alive with 2D animation then moved on into 3D, which has now become the way of the animation world. It would never have evolved to this point without the success of the 2D. In fact, it is still dependant on the skills required for 2D to be applied to 3D animation. Therefore, where you hear someone say the 2D animation is mundane then do not give it a second thought.

In modern technology where almost everyone is on computers at some point of time it is unlikely they will not be exposed to some type of animation . It must not be forgotten that animation is not just restricted to cartoon characters.

To put it simply any moving image that has been made to do so by the computer is computer animation. The technique used is a way to create the illusion of movement one image on the screen quickly is replaced by another one that is almost identical to the first one but not exact. It happens this same way with other media such as television and movies. Most often, this is accomplished with 3D computer graphics and the results are directed to the computer, but it could be for movies as well. You may hear this referred to as CGI meaning computer generated imagery.

Computer animation is just another method of creating animation by way of automation or computer technology. The principals are the same as when they are done by hand, it is just the computer is able to do much of the preparation work and rendering of the finished version. It duplicates the stop motion techniques of 3D and framing by 2D.

Using the computer for animation is a systematic process. To begin with, the object is built on the computer monitor. These are the models. Then the 3D figures have to have a virtual skeleton. To get the major movements such as for the eyes, mouth or clothing for example then the computer will create an action called tweening or morphing.

When dealing with 3D animations it is important to remember that all of the same fundamentals and basics of animation are utilized. In this case, though modeling must be complete prior to rendering. The rendering in tweened frame is done as needed.

As you can see with 3D animation, the majority of the work is done through the computer. Although the computer does the work it has to receive the instructions to do so, and that is where the 3D animator's job comes in. This means besides the fundamentals keen computer skills and a thorough knowledge of the capabilities of the software are a necessity.

It is important for anyone interested in a career in 3D animation to research all of the different areas of expertise that are required. Without doing so it is most difficult to make an informed decision as to whether this would be an appropriate career for you.

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Reverends Jackson, Sharpton, Baseball and President Obama

As a white man and a Jew I never really understood Rev. Jesse Jackson. While I always found him to be an intelligent and articulate spokesman for the African American civil rights cause, I regarded him as arrogant even polarizing and divisive. His "Hymietown" slur in January, 1984 referring to the New York City Jewish community and "Hymies" for Jews offended me deeply, especially so coming from a recognized leader of one minority group slighting another. Although the insult was supposedly uttered in private, it was nonetheless reported by the national press.

In spite of these insensitive remarks and his eventual apology, it came as no surprise that he was a presidential candidate for the first time that same year and again in 1988. What audacity I thought. What sort of support did he expect to garner from white America? He had to have that support to be taken seriously. Equally important, could his candidacy hurt the Democratic Party's chances and further divide an already unstable party? Sure the black community rallied to his side, and rightly so, chanting "Run Jesse run" but minority numbers of support and catchy slogans do not make for a successful campaign and Jackson was too savvy a politico to deny this simple truth. But like any American he had every right to seek the presidency as long as he met federal requirements to run for office. And he certainly met those minimum requirements.

Then in 2004 Rev. Al Sharpton exercised his right to seek the highest office in the land. If Rev. Jackson failed to muster meaningful support did the Reverend Sharpton even have a prayer? He was regarded with as much disdain, if not more, to white America as Jackson. History recorded that neither man gained any significant support outside the black community and that was just fine with me and other members of white America.

It wasn't until five years later and three months into the Barack Obama administration that it finally dawned on this writer that by their presidential bids Reverends Jackson and Sharpton had made one of the most unheralded yet important inputs to the American political landscape since Reconstruction. I was casually watching a televised baseball game last April 15th. unaware the date corresponded with the 62nd. anniversary of Jackie Robinson integrating baseball to play with the Brooklyn Dodgers. Every player, manager, coach and umpire in both leagues wore Robinson's number, number 42, that day to commemorate the permanent break in baseball's color barrier making this an unprecedented, well-designed tribute in the world of major league baseball.

I was thunderstruck. I made the analogy that Jackson and Sharpton had been to American politics what the legendary "Shoeless" Joe Jackson and other ballplayers from the old Negro Leagues' era must have been to baseball. Like Joe Jackson paving the way for Jackie Robinson's career and race, they planted the seed that an African American, acceptable to white America, could one day enter the political arena as a serious presidential contender. The analogy didn't stop there. Mr. Obama was now our 44th President and as the media incessantly reported, "The first Black president." Like Jackie Robinson before him our newly-elected president had from the earliest days of his presidency experienced the same vitriolic contempt by detractors that Mr. Robinson knew all too well so many decades before while always maintaining his characteristic dignity in the face of racial adversity.

The history of baseball and politics are unmistakably intertwined as a result of race. Melanin. That subdermal pigment responsible for skin color, symbolizes the essence of hatred in a country that has had to confront prejudicial ugliness whether on the playing field or the halls of Congress.

Men like Reverends Jackson and Sharpton are indispensable to any organization that has as its agenda civil rights inclusion, acceptance and respect. Their methods in meeting these ends might seem controversial or reprehensible to outsiders but more often than not they eventually meet with success in promoting civil rights which justifies their welcome to any White House.

The 106th. World Series is now history and for the 27th. time in its history the New York Yankees were victorious, a fact that doesn't surprise anyone from the baby boomer generation. The question of race was never at issue. The only time we were reminded of baseball's racial past was the tribute to Jackie Robinson. A Black man now occupies the Oval Office as our duly elected by the people 44th. President. Despite the demands as head of state, President Obama probably made time to enjoy the series. He is after all an ardent baseball fan. Maybe between innings he contemplated the once inconceivable social change his election forged or that of countless black ballplayers that preceded Robinson, Mays and Aaron (whose jersey bore the number 44 during 23 years of service). And maybe, just maybe, he thought that one day the media will no longer find it so necessary to inform us of the first, second or third African American, Black, Hispanic, Asian, Native American or Woman to enter a particular field. Just like in baseball.

Writer: Allan R. Marshall

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VAN GOGH - Painting European Landscapes

Vincent van Gogh Dutch Painter, 1853-1890, painted magical European landscapes and sea-scapes.

THE ARTIST

Vincent van Gogh, the name does not require any detailed introduction. Van Gogh is one of the most popular artists of all time; so far as the field of painting is concerned. It was a matter of pity, for the artist like him, that his famous paintings were hardly recognized as master pieces during his life time. He went to Paris in 1886 where he became part of the avant-garde art community. He came into contacts of master painters like as Camille Pissarro, Georges Seurat, Edgar Degas, and Paul Gauguin.

THE ART

Painting the 'European Landscapes', Van Gogh had added magic into the art of painting. Van Gogh's palette had expressive and emotive colours on it. Van Gogh used these colours as a master impressionist, painting his canvases in the style of the impressionist who were used to paint outside their studios. He used mostly brilliant colour to produce the striking light in his paintings. The energetic application of the hot colours produced a rich impasto surface conveying the ever-present vibrancy. Van Gogh painting had one special feature, too: the feature that made him an artist painting obvious and contrary to the prevailing standard, acting like a revolutionary painter.

For an impressionist painter, the controlling of effects of light is an issue demanding artistic skill. While painting out of the doors, it is difficult to choose colours; especially when the artists has to work with his or her eyes half shut due to the presence of blazing sunlight. When an artist paint out of the doors, the same set of principles of painting applies; but it is hard to sort out the chaos of colours and keep their tonal values in tact, especially in the impressionist style of painting.

For reading other articles on paintings and detailed reviews of paintings and seeing the images of the paintings visit the following sites

PAINTINGS GALLERIES

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Pablo Picasso - The Rose Period

In 1904, the beginning of Picasso's Rose period. Although now much less popular of the blue period, rose period saw the emergence of technical and stylistic innovations that later became part of the unique style of "Picasso" was.

During 1904 a transition year to Picasso, who painted in the style of the two periods. Change the dark, often pessimistic picture for the image bright and optimistic, warm colors, including, of course, borrowed pink. His workbegan, has a romantic quality that pain again slowly faded blue period. He started the means to combine classical music to explore, with expressionism, a path that would continue for the rest of his life.

Picasso in Paris at the time of life, which played a role in the development of his style. When the French culture, Parisian elegance absorbed slowly replaced the soberness of his Blue Period, which are generally more skilled in Spanish. Harlequins, clowns andcircus artists are often the subjects of his Rose period paintings, as they would at various times in his career. Harlequin's most popular comic servant characters of the Commedia dell'Arte Italian came to see a personal symbol for Picasso.

The change in the style of Picasso is also in his relationship with Fernande Olivier, whom he met in 1904 attributed to him. The report, at least for the time Rose was pleased to Picasso. ItsImages of her being the work of a young lover, like his portraits of women later in life, in contrast to the more abstract and experimental would be.

Picasso finally enjoy commercial success during his Rose period and could have a society painter in the classical sense. But he does not want to be part of the world of classical art, he supported the preferred avant-garde. But after the artist Joan Miro, his protege,Picasso was not sent in their style to meet the needs of potential purchasers, the balance artistic and commercial needs.

Rose period lasted until 1906, when it was replaced by the less a little-known African Period.

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How to Draw a Cartoon Character

Learning how to draw a cartoon character is both, a very simple as well as a tricky job. You need to observe the faces of people around you and use your creativity to give the desired personality to your cartoon character.

How to Draw a Cartoon Character - Method 1. This is a fundamental way of drawing a cartoon character, especially suitable for the beginners.

o Geometrical Shapes. Start drawing a cartoon character with the basic geometrical shapes such as squares, circles, and ovals for the head of your caricature. You need not be great at drawing for sketching these shapes. Think how each shape could represent the different personalities of people. Square-headed character looks stubborn and old, while a round head looks happy and smiling. Similarly, a lens shaped face can represent a feminine character.

o Free Sketch. Take a blank page. Draw one of the basic geometrical shapes and try to imagine a face inside it. Keep your hand as much free as possible while drawing. Of course, continue infusing your imagination all the while, you are raiding the paper.

o Body Drawing. Now let us go ahead with the rest of the body of the cartoon character you are drawing. Again, you begin with the basic geometrical shapes for this. Think about the cartoon characters that you are familiar with such as Simpson, Poppeye, and Tarzan. Observe their body shapes. If you still find it complicated, try to imagine simpler shapes that make up the body of the cartoon character.

o Simplicity. The secret behind learning how to draw cartoon characters is not that you have to be a fantastic artist. The secret lies in being able to separate complex arrangements and designs into simple shapes that anyone can draw. The magic of caricature drawing is to use your brain to imagine each part of the cartoon and then rearrange all to give your cartoon a meaningful personality.

How to Draw a Cartoon Character - Method 2. This is a professional approach to draw a cartoon character. The method emphasizes on drawing a basic pencil outline of human characters by Sticks Method. This method helps in drawing a cartoon character in particular poses. The use of sticks to represent bones makes a cartoon more natural and expressive. We break the cartoon character down to show various joints of its body. With the help of this, any kind of pose can be reflected.

o Imagine a character, all made up of sticks.
o Draw a symbol of cross (+) to impart a symmetry to the caricature's body you are drawing. Draw eyes on the horizontal line of this cross.
o Now draw a horizontal line below the eyes, representing shoulders.
o Draw a circle around the eye line, representing head.
o Draw sticks for hands and legs along with the major joints, in order to capture some pose.
o After the stick figure is complete, give the shape of respective body part around the stick.
o Finally draw eyes, nose, lips, and hair to complete the cartoon character.

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Michael Jackson's Website

As with almost every other celebrity , Michael Jackson too has his very own website. Often these sites are mere marketing machines and  don't usually exist to communicate with fans but to sell to them. There are exceptions of course and over time I feel the Michael Jackson website has been used for both purposes.

Communication was important for Michael Jackson, more especially when he found himself embroiled in numerous scandals.

Michael Jackson's website is a real treat for his fans. It gives some slices of his life not seen on TV. And since Michael's passing has arguably become more important to fans than it ever was, and at this time of mourning is a kinda tribute site. There are literally thousands of messages there right now, on what has become a tribute wall of condolences.

The official website per-se is not that unique (save the current situation) and is very similar to a lot of other celebrity websites. There are links to download his music in addition to listening online, and videos too. And according to many fans, the videos are the best part of Michael's legacy - especially the Thriller video.

The official website also has links to view his discography and search facility. The album links (unless they are demo free plays) takes you directly to Amazon for purchasing.

On the whole, it is not a particularly intuitive site, It is however, definitely a site worth visiting right now.

Be aware though, there are other Michael Jackson sites worth visiting too, many will give you a different view point to the official line, which can only be a good thing - can't it?

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Gradient Design and Control in the 3D World

Gradient design is, by far, the most powerful aspect of the Glow module; it is what makes the entire Lens Effects module so useful. With gradients, you can design the most intricate glow effects that can be used in both still images or animations. However, it takes a bit of practice. In Glow, you have four different gradients-two color and two gray scale- that you use in conjunction with each other to produce the various glow effects.

The color gradients control the color of the glow, and the gray scale gradients control the transparency of the glow and are commonly called transparency gradients. The first step in understanding gradients is to learn the terminology. Several terms within the gradients can make your life miserable unless you understand what they mean. The next two sections both explain and demonstrate the common terms used when working with gradients. You must be using the Gradient color option defined in the Preferences tab of Glow-to see the results of changing any gradient.

Glow incorporates two types of gradient definitions: Radial and Circular. They are used for both color and transparency. Both radial and circular can be used independently or in conjunction with each other to produce different styles of glows. Radial gradient definition is determined from the center point of the glowed source outward. The left side of the gradient is the center of the glowed source and the right side is the outermost extents of the gradient that is determined by the glow's size (both by gradient and numerical).

Circular gradient definition works by controlling the glow as it travels along the perimeter of the object. You can alter where the glow takes as well as its color around the object by varying gray scale intensities or adding colors to circular gradients. The trick for circular gradients is that they work based on the direction of the edges of an object.

The left-most part of the gradient is the center of the radial cross-section. The right-most part of the gradient represents the effect at its extents. This means that if an object has several faces that point in the same direction along its edges, they all have the same glow effect on them if they fall within the right threshold.

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His Most Famous Painting (Christina's World) - Andrew Wyeth

Renowned painter Andrew Wyeth (1917-2009) was a 'Realist' U.S. artist, whose body of work concentrated mainly on people and places. Often, he was referred to as the 'Painter of the People,' who believed in the representation of the finer emotions of life. He also drew criticism from certain corners due to his realist style in the era of 'Abstraction.' His art was termed as depressing and full of saddened expressions. However, Andrew's mass appeal, and claim on some of the rare international honors, made him a living legend. In the year 1948, he painted, what became the most sought after and replicated painting of all times, "Christina's World."

Wyeth was a master of 'Tempera Painting,' which involves the use of egg yolk with pigments (water-soluble) as a fast drying coloring medium. He has employed the same technique in his masterwork that touches the world until date. The work is set in gessoed base on a medium, 32.25" X 47.75" wood panel. The protagonist of the piece, Christina, was a real life character and was Wyeth's neighbor, who suffered from a muscular degenerative syndrome of a serious kind, throughout her life. There is no clarity about the possibility of her being plagued by polio. Wyeth painted "Christina's World" when she was 55 years of age and had lost her power of locomotion. Despite her disability, Christina was a strong woman of grit and determination, who refused all kind of medical help or sympathy. This spirit of hers that did not wither with age and sufferings inspired Wythe to paint her as a young girl, crawling towards her goal, her home.

Andrew had seen Christina dragging like this to her friend's place, which was almost an 800 foot distance. Her thin arms in "Christina's World" manifest the signs of growing weakness. She is portrayed as wearing a pink colored dress, which 'real' Christina had designed for herself for her nephew's wedding, some years back. She is facing away from the viewer and towards her abode, weak, yet determined. The painting features an open grassy field and Christina's grey colored house at its far end and similar other, more distant establishment. Wythe has painted her house, which is still in existence, almost with a reality, although a little more wilted. The grassy field in the piece is not green, rather it is ripe brown and earthy, somewhere to signify the enveloping loneliness and the tragedy of Christina's life. The dullness of the daytime sky in the piece also conveys similar sentiments.

Currently, a part of the collection at the Museum of Modern Art in New York, "Christina's World" still stirs the world of art the way it did at its debut. The lonely figure of a, seemingly, helpless women in a wide field, dragging towards a distant dream has been making viewers identify with her.

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Famous Artists Series - Franz Kline - Abstract Expressionist Artist

American Abstract expressionist painter Franz Kline was born on May 23rd 1910 in Wilkes-Barre, Pennsylvania. Kline was educated at Boston University and in 1936 he enrolled at Heatherley's Art School in London. On his return to America in 1939 he married Elizabeth Vincent Parsons - a British ballet dancer - whom he had met in London.

Kline's early art consisted of paintings of cityscapes and landscapes of New York, murals and portraits were also part of his early efforts and there was a tinge of Expressionism evident in his works. It was during this time in the late 1930s that he acquired two patrons from whom he received tremendous encouragement and support - Dr. Theodore J. Edlich, Jr. and David Orr. During this period Kline received awards in the National Academy of Design annuals, but his more mature and representative style developed in the late 1940s after his meeting with other abstract expressionists; Willem de Kooning and Jackson Pollock. Kline's style basically consists of bold strokes of black and white enamel. This black and white style would be revealed to the world in his first solo exhibition at New York's Egan Gallery in 1950. Indeed, it was his black and white paintings he is known famously for, although he also worked on colour paintings since the mid 1950s and colour began appearing more consistently in his paintings after 1959. His first solo exhibition followed soon after and would associate Franz Kline with Abstract Expressionism forever.

Willem de Kooning was enormously influential in the development of Kline's mature style, and the guiding force behind his transformation from a painter of landscapes and realistic themes to abstraction. The event that led to the transition is an interesting one, Kline took a drawing and gave it to de Kooning who projected it using a Bell Opticon projector, the projector enlarged the drawing so much that the image began to overlap at the edges. The impact of this projection almost instantly transformed Kline from figurative art to abstract representation. This incident had occurred at a time when Kline was intellectually exhausted, and provided impulse he needed to progress as an artist. The transformation was represented through the Nijinsky paintings, which possess elements of self-portraiture and depicting a series of heads based on the dancer Nijinsky in the role of Petroushka.

One can't fail to experience a dynamic, spontaneous and dramatic impact on viewing Kline's paintings. The general inspiration of Kline's works range from symbols of the modern industrial civilization such as railroads, engines, tunnels, bridges, etc. Though spontaneity is the most recognized characteristic, Kline's many complex renditions are a result of extensive studies. His paintings were created after referring to his own compositional drawings. He would draw sketches first on any paper he could find before he began his masterpieces. His paintings mask the conscious effort behind them, but the visible spontaneity and intensity of his paintings classified him along with Jackson Pollock and other Abstract Expressionists under the title 'action painter'.

Some of Klein's famous paintings after 1950 include New York, N.Y. (1953), Painting Number 2 (1954) and Untitled (1957). Kline died in New York in 1962 of a heart condition, after adding yet another dimension to the rich Abstract Expressionism Movement.

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Acrylic Paint - Why It's So Great for Signs

Acrylic paint is a luminous synthetic paste that combines and enhances the best characteristics of watercolour and oil paint to create a versatile substance with superb coverage, drying power, flexibility and resistance. These important features in acrylic paint have been proven superior to other paints through careful testing.

Mexican painters of the 1920's conducted a series of pioneering tests on rudimentary acrylic paint to evaluate its resistance when exposed to harsh weather conditions. They discovered that its chemical properties gave it extreme durability. Small resin particles and pigment make up an emulsion in water held together by polymeric agglutinants. Unlike oil paint, water can evaporate out of acrylic from between the agglutinants. As a result the paste dries rapidly to form a compact plastic film.

Artist Jackson Pollock created large painted masterpieces with thick textures. This process is tedious when using oil paint due to the lengthy drying time. However, when Pollock used acrylic he no longer had to wait for months for his canvas to dry. Thus acrylic's superb drying power enabled artists such as Pollock to create more spontaneously. Abstract painter Morris Louise also benefited by exchanging oil for acrylic. Whereas in oil painting a primer must be applied to protect the canvas from eventual rot, this procedure was eliminated when Louis chose to use acrylic because of its self priming quality. Advantages such as these examples enable acrylic paint to be used as a fluid and economic medium.

Acrylic is exceptionally versatile and can be used in a broad variety of ways. It can be used in its common paste consistency, or watered down to create a colour wash. Other mediums can be added to modify the appearance or consistency of acrylic. A surface finish can be made either glossy or matt and an additional thickening medium allows thick paint layers to be shaped or brushed on, giving a sculptured texture.

Because of resins in acrylic a dried paint layer forms and remains flexible, allowing a greater variety of manipulation than is possible with the more brittle oil paint. Professional artists first experimented with acrylic's properties in the 1950's. Paintings from this time remain extremely fresh in comparison to similarly treated oil painting which have darkened or cracked. This durability has also been tested extensively by manufacturers. Paintings have been deliberately exposed to conditions which age the colours quickly. These tests show that acrylic is one of the most durable painting mediums available and will withstand the aging of centuries.

Due to its versatile features and outstanding quality, acrylic paint has proven the perfect medium for use in production of quality artwork that can withstand the outdoor environment.

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How to draw lips

In order not to ruin the image, what is art students to practice drawing some parts of the face, so that when the image is set, is an important bill. Most students do not design determines the success that they have no solid foundation in design. In other words, when it comes to drawing lines, drawing shapes, blending, together with outlines and shadows, which are still struggling. No wonder that the image is wrong. We can sayStudent Art Foundation is a weak if he or she tells you that the faces are always looking for the same.

Because these students that the same forms over and over again without realizing take. Not draw what they see, but what they think, to see them. And always the same look by pulling the nose, lips that look alike and so on. Therefore, the faces are the same.

To avoid this problem. Art students can discuss, among otherIt has a face aside and focus on developing a single party, such as lips. Start by building a large collection of images of lips. Using them as reference images and works with a mouth pulling alone.

The point of the whole exercise, because it is for students to pay attention to subtle differences in the mouth. To achieve this goal, drawing close-ups of lips, will be particularly useful.

Other lips on the upper lip and bottom lip. What happens whena thick upper lip? What if you have a thick lower lip? What if the lips are thin and so on. As it appears on the lips when a person smiles? What about laughter?

You will notice that the lips can actually take many forms. Do not be deterred simply because there are so many different forms, can have lips. Instead, try each one corresponding to the shape and model the behavior of the subject. For example, if a woman has a face, what do you think? ThisMake your lips drawing exercises interesting.

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Evil Skull Drawings and Skull Clip Art

In the early ages, many artifacts and ancient buildings contain evil skull drawings in their designs not only to scare people but to represent their way of giving importance to their past, beliefs and the way they look at skulls as a theme of their design. In history, comics and culture most of these evil skull drawings are present in pirates' flags and ships.

Having skulls in an art work is of much importance in today's artists. Evil skull drawings are present in people's garments, vehicles, restaurants, homes and other day-to-day venues. In the artist's thoughts, these drawings are not for the love of evil but it is just to represent the personality of the one that possesses it. Some people have them in their sculptures, printings, paintings and the most common is the tattoo art. Skull clip art is also common in some web pages and books which represent a form of masculinity or just being vulgar to what he wants to say.

Lots of individuals are looking for the perfect form of evil skull drawings and designs. They always want it in their buckles, t-shirts, pants, earrings, bracelets and on almost all sorts of application they could think. Some are looking for this to fill their cravings for a hard type of personality. Even the artists have to dig deep into their minds to come up with the perfect designs of drawings and skull clip art. Pencil artists, hand and air brush artists, sculptures, graphic artists, carvers and even a common kid can always draw out the best skull clip art or evil skull drawings that he can make.

This theme in an art work is common to see but not that common to make. It needs deep thinking and the most creative way of applications. There are many ways to have skull designs or you may want to have a design of your own. For more applications, references and uses of evil skull drawings and skull clip art, please visit Evil Skull Drawings

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Painter Vs Artist?

I finally read "Zen and the Art of Motorcycle Maintenance." I may not be performing a tune-up anytime soon, but it has really impressed me in terms of what I do, namely paint in the "classical" tradition. Author, Robert M. Pirsig distinguishes "Romantic" beauty, as the appearance that strikes the senses, from "Classic" beauty, which comes out of a harmonious order of the parts.

Representational artists, like me, have often been made to feel "square" because we aren't "cool" and spontaneous; we can't throw paint around like a guerilla (or a gorilla). We are not "romantic," by the definition above. The book has taught me to value my having a rational, classical method and offers a reconciliation of these two approaches. Obviously there needs to be a balance. I'm not here to invalidate the sincere efforts of any of my splatter-painting colleagues. What needs to be present in any artistic endeavor, however, is an authenticity, the presence of something called quality.

Pirsig asserts that quality is actually what generates our perception of reality. It is not merely a response to "reality," a judgment, as we were taught to believe in school. It is a pre-intellectual awareness. Ever wonder why the first thing that pops into our head when we look at a work of art is either "I like it" or "I don't?" It is an emotional response. Before there is understanding there is an awareness of and attraction to quality.

John Singer Seargent's monk-like devotion to achieving a perfect, spontaneous eloquence in every stroke is an example that comes to mind. As a portrait artist, I can appreciate the effort, the working and reworking that went into creating the appearance of effortlessness in his best work. It would never occur to most viewing a Seargent how much underlying structure and "science" went into making his paintings. There was an immense commitment to finding the balance between romantic and classical beauty. These diametrically opposed approaches are clearly reconciled in the work of creative genius like Seargent.

Sure it can be said that quality is "whatever you like." But it's also true that what a genius "likes" contains a world of experience that informs his every scribble.

Juxtaposed in my reading room is another great book for painters, published by Stove Prairie Press, called "Alla Prima, Everything I know About Painting" by Richard Schmid He too is a masterful painter. Two questions arise as I read these books in tandem: is it possible to be a good painter and not be a good artist? And the other: is it possible to be a great artist and not be a good painter? Schmid has nothing profound to say about his subjects. It's just delicious to look at. It is his sensitivity and expressiveness in paint that makes his work profound. He masterfully observes what is important and essential and gets it down on canvas with an elegant authority. Ostensibly, he operates in the world of appearances, which according to Pirsig makes him a "Romantic." But he executes his paintings with the depth of understanding and skill that can only be termed "Classical." Schmid makes this Romantic/Classical reconciliation look easy. But is he an artist? Absolutely. It's the romantic/classical reconciliation that makes him so.

I know many who would say no, he's just a glorified copyist. While this may be said of many realists working today, it can't be said of Richard Schmid. I'm getting pretty bored with those artists who bang away at splatter painting and random stabs of color, turning down their noses at anyone who's taken the time to get under the hood, as it were, and learn the craft of painting. Yes, on one hand, art is "whatever you want it to be." But it needs to be so much more. Otherwise, why all the fuss? Schmid asserts that "'looseness' should be the way a painting appears, not how it is accomplished." It's funny how the critics of representational artists accuse them of having nothing deep or profound to say-what does a beautifully painted landscape really tell us about being human?

On the other side of the abyss, representationalists accuse conceptual or abstract artists of a similar lack of depth. Where, for example, is the art in dragging a piece of wood behind a car and then hanging it on a wall? We're asked to accept that it's not the wood board but the experience it represents. But is it art? Sure, why not?

Ultimately, great art must create its own universe, one in which the artist has completely invested him/herself. This is where art lives or dies. The jolt of that immediate gratification of appearance combined with an understanding of the underlying structure and meaning makes for a Zen-like experience when it comes to creating and enjoying serious art. It's also great for riding and maintaining motorcycles.

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