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Pen And Ink

Art Pencil Drawings - Adding Ink & Watercolor to Your Art

By Lori Lee

One of my favorite ways to make art is by using pen, ink and watercolor. I learned about this method from Claudia Nice, who holds workshops at her studio in Oregon. Claudia has a lot of animals at her place, and workshop participants are able to see exactly how a horse's fur should be drawn by looking right at the horse!

When starting your drawing, you will first choose a subject or scene that you want to draw. If you're new to drawing or to this form of art, choose something simple, such as a flower. The first step is to work up a pencil drawing sketch. You can use art pencils or just a regular pencil to do this.

If you are saying to yourself, "I can't draw so I'm not going to try this," please read on. Everyone can draw. You can put a piece of paper on top of a picture or photo and trace it; you can look at a photo or picture in a book and sketch it while you're looking at it; or you can create abstract art by making shapes on your paper using whatever comes to mind.

Supplies you will need include:

A pencil
Watercolor paints, watercolor sticks, or watercolor pencils
A small paint brush and some water
Ink pens -- the ink must be waterproof, smudge proof and archival
Watercolor paper - 130 lb is a good choice
A picture or an idea of what you'd like to draw

After you've completed the pencils drawing, the next step is to add the ink work. You will do this by simply tracing over the pencil lines with the ink pen. To add depth and dimension to your work, add extra ink in areas to darken. If your subject is an animal, add lines or strokes of ink to darken the fur around the eyes and other places.

Next, you will choose areas to add watercolor to. Use the watercolor pencils, sticks or paint with the brush and a little water. Be careful not to over saturate your paper by adding too much water as you don't want all the colors to run together -- or maybe you do! There's no such thing as bad art and you don't have to show your work to anyone if you don't want to! So have fun and experiment.

House Portraits - The Perfect Closing Gift!

By Stephen Condren

House Portraits are a unique way that Realtors can express their appreciation to their clients at closing. No closing gift could be more meaningful than a work of art that is of the very house that you are closing on!

It is a long-standing tradition for Real Estate Agents to provide a closing gift to their client's at the closing. Needless to say there is a large market for vendors wanting to tap in on this market for there are many Realtors and many closings. However, from the Realtors point of view he or she wants the gift to be meaningful and long-lasting. A basket of fruit, box of candy, or theater tickets are all very fine and nice gifts but after the closing what memory will remain in the client's mind, for these consumables will be gone and other gifts such as pens, and book ends are nice but they do not bear any reference to the agent.

However, the house portrait is the perfect closing gift because this work of art will be hung on the wall of their client permanently and will be a perpetual reminder to all who see it (usually house portraits are hung prominently in the home) of the real estate agent that gave it to them, thus a continuous source of referrals for the Realtor!

Of course key to giving the house portrait is finding the artist that suits your artistic taste. There are two categories for to choose from: Pen & Ink or watercolor. The most popular is the watercolor because it is loose and fresh, often times artists will add ink to the watercolor to give accent to the details of the home. This of course depends on the style of the home. A Victorian or Antebellum home is an example of a style that adding pen & ink details much enhances the work of art, a simple suburban ranch would not need such detailing.

Also, it is prudent of the real estate agent to have the artist inscribe a few words or comment from the agent with the agent's name posted below it, thus serving as a source of advertising that will last for years. The client's that receive these gifts are always so pleased and touched that the Realtor went out of his or her way to make the closing a special event. It is always good to plan for the long-term and the best-long term gift that a Realtor can give their client is a house portrait - the perfect closing gift.

Painting Lessons - Picking Your Medium

By Melanie Oca

Painting Lessons in LA can normally aid you in picking a medium for your canvas. Painting will get entertaining right where abstract and realistic painting meets. Realistic paintings are engrossed with abstract attributes like color, structure, shapes and texture - and abstract paintings that are seriously exclusively abstract do not signify anything at all to a person any longer. Fine abstract art perpetually has a few affiliates to our recall of sensory notions

Acrylic paints could be diluted with water, but are water-resistant when free of moisture. Relying on exactly how much the paint is diluted with water, the finished painting can be like a watercolor or also an oil painting. To get a watercolor outcome, thin down just a tiny measure of paint directly into the water. Combine it well and you have created a complete fresh medium to paint with. You can even use a small quantity of paint in a spray container of water to mist on small specks of color in farmland or for cascading snow. Hint: make sure your painting is resting down when you do this. These methods would likely not be possible unless diluted to a watercolor consistency.

Water color's irregularity and untamed nature make it the most awesome and receptive medium of all. The opportunity to drift about someplace between mastery and total absence of management all through the series of a painting make it one of the most interesting mediums. The certainty is: it is speedy, clean and versatile. Typically, watercolor employed only light, translucent washes of pigment. Some exquisite, fine paintings came out from this way of thinking. Contemporary watercolor, nonetheless, allows for higher freedom of procedure and components.

Going from the established standard of watercolor into the world of mixed media can start-up a huge innovative range of options. The thrills of working watercolor with ink, pastel, collage and other water structured media is one of the most addictive forms of expression. The process of building up, altering, enhancing, destroying and reconstructing enables a painting to create a life and momentum of its own. As the painter, you become practically a spectator, observing, judging and coaxing as the painting slowly and gradually comes to life

Painting Lessons in LA can furthermore allow you to get more tips with several ideas of this craft. A person may have heard artists and critics chat about Focal Point. This is an expression that also is true to photography. There is a book of art terms that describes focal point as the core of attention in a snapshot. It is important to have some approach of this concept. In working with our eyes in daily life, we commonly tend to target on the thing that we are browsing at. Even though we are not concerned of it, all else is truly a bit out of focus. Having that in mind, as an artist, you may choose to review what you want your focal point will be in your painting. Good luck in choosing your medium of art!

Picking your medium for painting is not as easy as it sounds. If you reside in LA or is just going there for a trip, you may take up Painting Lessons in LA and take advantage of the expertise of artists there. That is why it is always good to confide with creative professionals in their painting classes especially when it comes to the craft of art.

How to Successfully Teach Art and Architectural Drafting to Inner City High Schools Students

By Stephen Condren

How to successfully teach Art and Architectural Drafting to Inner City High Schools Students

In Fine Art I teach Landscape Painting, Water Colors, and Pen & Ink Drawing. In Architectural Drafting I teach Working Drawings, Technical Illustrations, and Architectural Renderings.

It has been both an honor and blessing to have the opportunity to teach art to students at inner city schools. For the past three years I have taught Fine Art and Architectural Drafting at Lane Tech College Prep and King College Prep High Schools, part of the Chicago Public Schools (CPS), in Chicago, Illinois.

The ethnic make up for Lane Tech (all figures are approximate) is in the range of 40% White, 40% Hispanic, 10% Asian, and 10% Black and other ethnic backgrounds. The figures for King College Prep is 90% Black, 5% Asian, and 5% other ethnic backgrounds.

The first question that has been posed to me is the following:

How do you adjust the lesson plans for the students at each school?

My response is that I adjust my curricula for each class according to its needs. When you are dealing with High School students you are working with a complex group of young adults. Not only are the students different in their ethnic background they are also different because they are being merged into a large and complex social system that has tremendous impact on each one of them both personally and academically.

There are three things that have to be done to teach effectively.

1. First and foremost get to know your students. Take the time to become acquainted with them and more importantly as you listen to them listen for what is being said "between the lines". The students will tell you what they want you to know, however, there is much that you can and need to learn about them that is not clearly brought to you by them. Often times students have many pressing needs that they want to share with you but lack the security to bring these things out. Let them know that you are there for support and guidance. It should be noted that you can never under any circumstances be their "friend". Your relationship to the students must always to be proper, polite, and respectful never intimate or inappropriate. You will fine that showing love, care, and respect to your students will come back to you ten-fold. If you have their respect you have everything.

2. Second, become familiar with the students parents or guardian. I have made it a policy to call the parents of each of my students the first week of school. I cannot over state how important that this action is. With it comes a bridge of understanding that deepens as time passes. You will find that your greatest advocate and support comes from your student's parents. Do not be afraid to call them they want to hear from you. Most of the time they are stunned that a teach will call them! It is a pleasant surprise. This takes a lot of time but it is worth it.

3. Write plans that are modular and flexible. This is imperative in today's classroom. What I mean by modular is this: Have a clear objective in mind from the outset as to what you are going to teach as well as what the student are going to learn! This is where most teachers fail. Take into account the propensity of your students. If you do that you have the key to successful teaching and the joy of watching students advance both academically and socially. Be sure to have many variations on your lesson plan modules so that you can dove tale it to the need of a student with a special need. If you plan modules into your lessons you will find it very easy to teach to the student and to keep track of their progress.

The three points that I have listed above are what I have stated as the three most essential things that need to be done to teach affectively. This is not to say that this is all that is to be done. Certainly you need to know your subject matter, get along with your colleagues and administrators as well as work with members from the community. The rewards are rich when you but in the time and focus on the above mention points.

In my case I am a teacher of Art and Architectural Drafting two very different disciplines. Art synthesizes many subjects and brings them together. Architectural Drafting does this to a point; however, it is more analytical seeking to break things down before putting together.

When I start to teach the students drawing the first thing that I tell them to do is draw bad pictures from the objects I have put before them. In fact I tell them that I take off points if you do good work! Why? Because the students need to put aside all their preconceptions of what to create and instead develop a relationship with the paper and pencil, good drawings will come in time.

Drawing Cars - Easy With Pen and Ink

By Rick Rucker

Cars drawn with ink are very dramatic, but also easy to render. Pen and ink sketches offer extreme resistance to smudging, or bleeding. If the "stippling" technique is used, it is almost impossible to screw up a drawing.

"Stippling," or "pointillism," as it is also called, is a technique to draw a picture by putting dots on paper. This is exactly the same way that an ink jet printer makes an image, except the printer uses much smaller dots.

Newspapers also use a series of dots to print photos. Dots do not soak through like ink put on with a brush, especially on thinner papers.

Most artists that do stippling first draw a pencil sketch. It does not have to be too exact, the ink will cover it anyway, even if it is not erased once finished.

One of the advantages of using this style of drawing is that no straight edges or other drawing aids need to be used. Instead of using lines, which would ruin the rendering if one of them were placed incorrectly, with dots, you can "sneak up" on the line with a series of dots. Dots can also be used to fill in low spots on the outline of a car.

One of the very best reasons to use pointillism, though is for shading. Like that ink jet printer that I mentioned, with dots a full range of light to dark shades can be represented. The transition from dark to light can quite subtle also.

I saved another advantage until last, stippling is about the least expensive art technique known. All it takes is a pen, and a pencil to draw the initial sketch. It is cheaper than oils, pastels, acrylics, and even multiple pencil grades. You can even draw on paper, instead of expensive canvas!

Stippling can be a very easy way to draw cars and other things. Give it a try, you might find that it suits you perfectly.


No architect troubled to design houses that suited people who were to live in them, because that would have meant building a whole range of different houses. It was far cheaper and, above all, timesaving to make them identical.
Michael Ende

Not many architects have the luxury to reject significant things.
Rem Koolhaas

Nothing requires the architect's care more than the due proportions of buildings.
Marcus V. Pollio

Proportions are what makes the old Greek temples classic in their beauty. They are like huge blocks, from which the air has been literally hewn out between the columns.
Arne Jacobsen

Rome has not seen a modern building in more than half a century. It is a city frozen in time.
Richard Meier

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.
Arthur Erickson

The bungalow had more to do with how Americans live today than any other building that has gone remotely by the name of architecture in our history.
Russell Lynes

The dialogue between client and architect is about as intimate as any conversation you can have, because when you're talking about building a house, you're talking about dreams.
Robert A. M. Stern

The frightening thought that what you draw may become a building makes for reasoned lines.
Saul Steinberg

The higher the building the lower the morals.
Noel Coward

The interior of the house personifies the private world; the exterior of it is part of the outside world.
Stephen Gardiner

The loftier the building, the deeper must the foundation be laid.
Thomas Kempis

The Romans were not inventors of the supporting arch, but its extended use in vaults and intersecting barrel shapes and domes is theirs.
Harry Seidler

The work of art shows people new directions and thinks of the future. The house thinks of the present.
Adolf Loos

Those who look for the laws of Nature as a support for their new works collaborate with the creator.
Antonio Gaudi


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