True or False.,,,, Mona Lisa Painting is a man? ?

Mona Liza  by: Leonardo da Vinci

 
Well known Mona Lisa (by: Leonardo da Vinci) real identity has been a mystery for the past years, Italian researchers said that mostly Leonardo da Vinci uses a male model or his lover to paint the Mona Lisa
-In a Close examination of a high-quality digital copy of the portrait, there were found letters painted in the eye of the Mona Lisa the portrait revealed letter L and letters S for (Leonardo)&(Salai) respectively it is analyzed the copy using state of the arts high magnification techniques.
-The existence of the tiny letters and numbers painted at the eyes of Mona Liza was first claimed last December by Silvano Vincenti's  team of researcher.
-The letter appeared in the right eye which is LV which stands for (Leonardo Da Vinci) while in the left eye were all symbols. While Salai, Real name was Gian Giacomo Caprotti, is a young artist who worked with da Vinci for more than twenty five years, may have served as a model and muse for several of the artist's paintings.  Both pair has an "enigmatic" relationship and probably lovers, Vincenti said in the interview.

Light & Shadow Photography: Simply Stunning

Light & Shadow Photography: Simply Stunning

Art Works - Richmond Virginia: Call for Entries January All Media Show

Art Works - Richmond Virginia: Call for Entries January All Media Show

Tips on holding a paint brush to get better stoke.

-The best way to hold your brush when painting is to hold it near the end of the handle, in this way you have a little more space and give you a better view of what you are doing in the canvas.

-If you need more of control(ex. painting in details.,), you have to hold the brush near the head of the brush., or much better to have your own feel or create you comfort zone in holding the brush. There is no technique or style in holding your brush, just practice and it will develop it self.

-Style can acquire through time, while techniques is in a matter of practice. The manner in which you become fluent in theses techniques actually became a part of your own unique style.

A brushstroke generally implies four separate actions:

* Cleaning the Brush - The main thing to remember here is to always pull your brush, never push it. This reduces wear and also shapes the hairs of the brush.

* Shaping the Brush - If you clean a brush correctly it should be shaped and ready to go. However, for delicate work (e.g., thin lines) you can chisel-shape the brush. That is, you hold the brush at a 45 degree angle to your horizontal palette, push down on it, and then slightly forward. The brush tip should now have a straight chisel-like edge.

* Loading the Brush - Now you can load the brush with paint in several ways. Shovel-loading a brush means lowering it onto your palette and pushing it at a low angle into a pile of paint. The paint is only on one side of the brush.

* Application of the Paint - A shovel-loaded brush makes precise strokes of varying thicknesses and almost functions as a writing tool.

A tip-loaded brush can be held perpendicular to the canvas and, while lightly touching the canvas, create very thin lines.

A pull-loaded brush is useful to create run of the mill strokes that don't require too much precision.

A body-loaded brush is good for applying impasto strokes and heavy highlights. Impasto is a painting style in which the paint is laid-on very thickly.

Much more can be said about this but just remember, the ease with which you apply brushstrokes depends on how you load your brush.

Mixing Art's in to Tennis: Pros & Cons using Acrylic Paints

Mixing Art's in to Tennis: Pros & Cons using Acrylic Paints: "As in all painting, the acrylic paint technique has benefits and drawbacks. The good things are that: * It is easily dilu..."

Pros & Cons using Acrylic Paints

As in all painting, the acrylic paint technique has benefits and drawbacks. The good things are that:

    * It is easily diluted with water, so there's no need for special thinners

    * Brushes are cleaned with soap and water

    * By and large you use the same brushes and knives as with oil paints, so you don't need to re-invest in this area

    * If you prefer however, an increasing range of 'acrylic-specific' brushes is coming on the market which gives you extra options

    * It dries fast - often within minutes - unlike oils which can take weeks or even months

    * Once dry, you can instantly put additional layers on top without ever muddying the ones below -as can happen with watercolor paints

    * You can paint on a wide range of surfaces including art canvas, watercolor and other types of specially formulated oil and acrylic paper, wood, various types of board - or even use your room walls as large murals!

    * Colors change very little from their wet to dry state - unlike watercolors - so the strength of colour you see first is what you end up with

    * It washes off clothes and carpets when wet, just by using soap and water

    * There is no solvent-type smell, as there is with oils and turpentine

    * Thinned acrylic paint makes an excellent underpainting if you're using oils

However, like all paintng mediums, there are downsides  when using acrylic paint. These are mainly around one of its main virtues... its quick drying properties. Here are some things you need to consider:

    * Drying so quickly makes it difficult to subtly blend paint, as you can with oils - when painting a cloudy sky or portraits for example

    * You have to keep all your brushes moist as you are painting. Never let them dry with acrylic paint on the bristles or you'll end up with a nice-looking set of short garden canes.

    * Paint which dries on the blade of a palette knife is very hard to get off. This can leave a film which may adversely affect the ability of the knife to make a smooth mark

    * You need a special palette to stop your paints drying out as well. These aren't cheap for what they are. (However, read the article on acrylic paint techniques to find out how to easily make one for next to nothing)

    * If acrylic paint dries on carpets, clothes etc, you'll be lucky to get the stain off. So wear old clothes and/or cover the table and floor with an old cloth!

    * If there's any grease on the painting surface, acrylics will not adhere, unlike oil paints.

    * Acrylic paint tends to be quietly abrasive and soon takes its toll on softer brushes. Try using it with a small nylon 00 watercolor brush, for example, and you'll be lucky to get more than two or three good sessions out of it

    * If acrylic paint gets inside the ferrule and dries it's almost impossible to get out without damaging the brush hairs. What then happens is the dried paint makes the bristles spread and the brush loses much of its value as a quality tool

    * Don't leave the tops off tubes of acrylic paint, the contents will go rock hard in no time. If this happens, you throw them away. Full stop

    * Some brands of acrylic paint have small tops on the tubes. They are extremely difficult to get off as the paint dries in the threads.

    * If you have problems gripping small items, you may want to choose tubes which have large caps - or buy a good pair of pliers!

    * Acrylic paint is a close cousin of PVA glue and as such, quite an effective, if somewhat colourful, adhesive.

Tips in Pen ink Drawing..

Basic Pen Shading , Hatching, Crosshatching, Scumbling..
-It is true that we cannot create a tonal value for pen-and-ink because of it solid black line that the pen ink created, I have some tips to achieve a similar tonal value for pen, like pencil does. first we have to create an illusion of this value through Hatching, Crosshatching, Contour Hatching, Scumbling  and Random Hatching, Stippling.

                    
Hatching
The most basic method of creating value in ink drawing is linear hatching. Fine parallel lines fill an area, so that from just a slight distance, we have the illusion of value. The closer the lines are, the less white paper shows, and the darker the value appears. Heavier lineweight (pressing more firmly or using a bigger nib) also gives a darker appearance.

          
Crosshatching
Crosshatching uses layers of hatching placed at an angle. Usually, the first layer would be vertical, the next horizontal, the next at forty-five degrees, and so on. This methodical approach can look a little mechanical, so artists often use variation in direction to add interest.

                 

Contour Hatching
Hatching placed at a slight angle creates a moire-like effect, the diamond-shaped fragments of white paper enlivening the denser areas of value. This technique is often used in figure drawing, with the direction of line helping to suggest the cross-contours of the body. Hatching which follows a contour can also help to make objects appear more three-dimensional.

 
Scumbling and Random Hatching
      -Scumbling, often called the 'brillo pad' technique, uses layers of small calligraphic, scribbled marks to build up value and texture. Varying the direction and shape adds more interest than a simple circular scribble. Random hatching uses layers of short, straight marks. Various textures result depending on whether these short hatches are applied vertically, at right angles, following a contour or at random angles.








Stippling
      -Stippling uses tiny dots to create value. The closer together the dots, the darker the tone. Larger dots create a denser tonal value more quickly, but can look coarse.