tag:blogger.com,1999:blog-68442800912488548812024-03-19T18:29:51.289+11:00Art Quill StudioArt Quill Studio<br>
The Education Division of Art Quill & Co. Pty. Ltd.<br><br>
Art Quill Studio Director: Marie-Therese Wisniowski.<br>
This site will feature a new post each week centred on the following categories: ArtCloth, Art Glossaries, Fiber Arts, Prints on Paper, Textile Arts, Wearable Arts, and include posts from our publishing house that are pertinent to each of these categories. Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.comBlogger680125tag:blogger.com,1999:blog-6844280091248854881.post-54857118879181588422024-03-16T07:00:00.209+11:002024-03-16T12:56:41.858+11:00ATASDA's 'A Touch of Gold’ 50th Anniversary ExhibitionPart III‘Graffiti Garden’ArtClothMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">My artwork has appeared in a number of exhibitions which has been featured on this blog spot. For your convenience I have listed these posts below.<br />
<a href="https://artquill.blogspot.com.au/2010/08/artcloth-engaging-new-visions.html">ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)</a><br />
<a href="https://artquill.blogspot.com.au/2010/09/sequestration-of-co2-exhibition.html">Sequestration of CO<sub>2</sub> (Engaging New Visions) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/04/codes-lost-voices-semiotic-artcloth.html">Codes – Lost Voices (ArtCloth Installation) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/05/unleashed-rise-of-australian-street-art.html">Unleashed: The Rise of Australian Street Art (Art Exhibition) Various Artists</a><br />
<a href="https://artquill.blogspot.com.au/2011/06/merge-and-flow-disperse-dye-artcloth.html">Merge and Flow (SDA Members Exhibition) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/07/journey-marie-therese-wisniowski-fine.html">The Journey (Megalo Studio) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/10/another-brick-post-graffiti-artcloth.html">Another Brick (Post Graffiti ArtCloth Installation) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/10/artcloth-swap-and-exhibition-artcloth.html">ArtCloth Swap & Exhibition</a><br />
<a href="https://artquill.blogspot.com/2016/11/my-eleven-year-contribution-to-9-x-5.html">My Fifteen Year Contribution to the '9 x 5' Exhibition</a><br />
<a href="https://artquill.blogspot.com.au/2012/07/when-rainforests-ruled-artcloth.html">When Rainforests Ruled (Purple Noon Art & Sculpture Gallery) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2013/09/when-rainforests-glowed-prehistory-of.html">When Rainforests Glowed (Eden Gardens Gallery) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2015/11/my-southern-land-artcloth-exhibition.html">My Southern Land (Galerie 't Haentje te Paart, Netherlands) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2016/01/the-last-exhibition-galerie-t-haentje.html">The Last Exhibition @ Galerie ’t Haentje the Paart</a><br />
<a href="https://artquill.blogspot.com.au/2016/05/mark-making-on-urban-walls-post.html">Mark Making on Urban Walls @ Palm House (Post Graffiti Art Work)</a><br />
<a href="https://artquill.blogspot.com.au/2016/10/fleeting-artcloth-sea-scrolls.html">Fleeting - My ArtCloth Work Exhibited @ Art Systems Wickham Art Gallery</a><br />
<a href="https://artquill.blogspot.com/2018/11/timelines-environmental-journey.html">Timelines: An Environmental Journey</a><br />
<a href="https://artquill.blogspot.com/2020/01/my-contribution-to-lake-macquaries.html">My Contribution to Lake Macquarie's Water Exhibition</a><br />
<a href="https://artquill.blogspot.com/2021/09/the-effects-of-global-warming-artcloth.html">The Effects of Global Warming - ArtCloth Exhibition@Rathmines Heritage Centre’s Boiler Room</a><br />
<a href="https://artquill.blogspot.com/2024/02/atasdas-touch-of-gold-50th-anniversary.html">ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part I</a><br />
<a href="https://artquill.blogspot.com/2024/02/atasdas-touch-of-gold-50th-anniversary_01632897123.html">ATASDA’s ‘A Touch of Gold’ 50th Anniversary Exhibition - Part II</a><br />
<a href="https://artquill.blogspot.com/2024/03/atasdas-touch-of-gold-50th-anniversary.html">ATASDA's 'A Touch of Gold’ 50th Anniversary Exhibition - Part III</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Celebrating the 50th anniversary of the Australian Textile Arts & Surface Design Association (ATASDA), the exhibition, ‘A Touch of Gold’, explores artist's concepts of the theme. Intriguing use of fibre and mixed media define this contemporary display of expressive textile wall hangings, 3D objects and wearable art which all reveal a physical 'touch of gold'. Working with diverse art practices, techniques and materials, sixty ATASDA members have created a rich tapestry of textile artworks employing fibre, weaving, felting, dyeing, printing, traditional and contemporary embroidery, and stitch techniques. Some historic pieces by renowned Australian textile art practitioners are included in this celebratory exhibition.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>My Contribution and Artist Statement for ‘Graffiti Garden’</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">My ArtCloth, ‘Graffiti Garden’, is a tribute to female graffiti artists - NeSpoon, Lady Pink, Ouizi, Mona Caron, Natalia Rak, and OG Millie - who utilize media such as stencils, spray paints, and wheat paste to create bold and powerful commentary employing flower patterns and lace motifs to symbolize the connection between people and cultures. Flora in gold and copper-gold hues encapsulate the concepts of growth, renewal, fragility and resilience.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Exhibition Dates and Venue</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">(i) Incinerator Art Space, Willoughby, Sydney, NSW 17th April to 5th May 2024.(ATASDA gratefully acknowledges Willoughby City Council for the provision of Incinerator Art Space); (ii) Whitehorse Artspace Gallery, Box Hill, Victoria 30th November to 21st December 2024.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>My Contribution to ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part III<br />
‘Graffiti Garden’</b></span><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7wNluEiU5dv8FrQMzBa6-EYpkWhFnmkfYSKttuU7hBNtlr5n_wtnrU76MKL9C2NMkuNy90PgLfPDVTI65fzpqj-7U1d6-9RBv1lzwNXK-RuuFK0tzV_wzLPaIW8RxaPi2ht4y1QkYI6dntlVE7FO6AynPKhRSqlmY8UycXN9aCh-qg2hYblQ8fsLLaRf/s1189/A.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="‘Graffiti Garden’ (Full view)" border="0" height="600" data-original-height="1189" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7wNluEiU5dv8FrQMzBa6-EYpkWhFnmkfYSKttuU7hBNtlr5n_wtnrU76MKL9C2NMkuNy90PgLfPDVTI65fzpqj-7U1d6-9RBv1lzwNXK-RuuFK0tzV_wzLPaIW8RxaPi2ht4y1QkYI6dntlVE7FO6AynPKhRSqlmY8UycXN9aCh-qg2hYblQ8fsLLaRf/s600/A.jpeg"/></a></div>
<span style="font-family: Helvetica; font-size: 10pt;"><b>Title:</b> ‘Graffiti Garden’ (Full View).<br />
<b>Materials and Techniques:</b> Silkscreened, stencilled, mono-printed and hand-painted employing glazes, transparent, opaque, and metallic pigments on cotton.<br />
<b>Size:</b> 71 cm high x 35 cm wide.<br />
<b>Year:</b> 2024.<br />
<b>Edition:</b> 1/1.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvNXINHVUCtAjExPRMElqTu5cLZq6PpqYxL3dxY7e8hdElyykKP3cVlHghU0z-xy0k7x89wwxJnq8EP95a7VJche0RAxKc8ATBR0GL7DUr70CT1TsoWXblDOSHrcIHQP1DnPxgrNfGGGlAF7L3_UJDA-dc_aCEgvforneRjz06ORv3IOK-nPvHzyLN2Gv/s756/B.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Garden’ (Detail View 1)" border="0" height="600" data-original-height="756" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvNXINHVUCtAjExPRMElqTu5cLZq6PpqYxL3dxY7e8hdElyykKP3cVlHghU0z-xy0k7x89wwxJnq8EP95a7VJche0RAxKc8ATBR0GL7DUr70CT1TsoWXblDOSHrcIHQP1DnPxgrNfGGGlAF7L3_UJDA-dc_aCEgvforneRjz06ORv3IOK-nPvHzyLN2Gv/s600/B.jpeg"/></a></div>
‘Graffiti Garden’ (Detail View 1).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidhbsscK-9thRLT6eEIbqJP3xumW7f4i0cyIDiGDy6giCVYwH30MZHezBHCfG4lJ6VGinIU_BQ6OYpjwhdZqRIQkveV5DayxVaxYfdxfzczUyiL0QRUMaMeWt2-n9BkpsnvpDmrfL1ucUBLyT76SpIznsDl6XaCz_CZ9w4aWuWl88e31510AQZt6Wb723y/s756/C.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Garden’ (Detail View 2)" border="0" height="600" data-original-height="756" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidhbsscK-9thRLT6eEIbqJP3xumW7f4i0cyIDiGDy6giCVYwH30MZHezBHCfG4lJ6VGinIU_BQ6OYpjwhdZqRIQkveV5DayxVaxYfdxfzczUyiL0QRUMaMeWt2-n9BkpsnvpDmrfL1ucUBLyT76SpIznsDl6XaCz_CZ9w4aWuWl88e31510AQZt6Wb723y/s600/C.jpeg"/></a></div>
‘Graffiti Garden’ (Detail View 2).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGd6mzqXjxzBF38pu68Q9hHF_qfqx8iki20BKQ2hXBA21s3MVfRR5JwQsPPWLN5hMBoihYnERZOgTdKHv1uzqPk1yyUoj50cBqUSUlG1SVYw1HeXLkEsxWpx8rRItTT-9q19V6AczvSoGRCphrLKqjgtL8KROPRPPPptM3hTWbrIriLiQ3N4thP-_v5_Us/s756/D.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Detailed View 3" border="0" height="600" data-original-height="756" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGd6mzqXjxzBF38pu68Q9hHF_qfqx8iki20BKQ2hXBA21s3MVfRR5JwQsPPWLN5hMBoihYnERZOgTdKHv1uzqPk1yyUoj50cBqUSUlG1SVYw1HeXLkEsxWpx8rRItTT-9q19V6AczvSoGRCphrLKqjgtL8KROPRPPPptM3hTWbrIriLiQ3N4thP-_v5_Us/s600/D.jpeg"/></a></div>
‘Graffiti Garden’ (Detail View 3).<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSo4TaaJD281ks1kKDk64iL4RibptCej0d93RsWbgMCxtm9flVgDB8z10HgretaYIxnAEBPebomrTpM2a82X-FO_zKOGD3QdtoLBLk7tDnQ1FV6TyItlfF6dCxUauQPAqn4ET64abP-m-2AAKRR0wGquQI0K6nKznrjZGJU1WuxZMV52TDSsfjt4B9yN-l/s756/E.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Detailed View 5" border="0" height="600" data-original-height="756" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSo4TaaJD281ks1kKDk64iL4RibptCej0d93RsWbgMCxtm9flVgDB8z10HgretaYIxnAEBPebomrTpM2a82X-FO_zKOGD3QdtoLBLk7tDnQ1FV6TyItlfF6dCxUauQPAqn4ET64abP-m-2AAKRR0wGquQI0K6nKznrjZGJU1WuxZMV52TDSsfjt4B9yN-l/s600/E.jpeg"/></a></div>
‘Graffiti Garden’ (Detail View 4).<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpNWIUtPC4NGhgBzboZ7EPgAF8Ldyy_4-mY6-RKBqgB3NN9b-m5g2EpHuAGhBrsJs7DaWD1hVvFOdIRwIKcqUMXKiIU5N_lMyvd0oE4ijAFIbp1v_nVEN3Wn0vJz7x8Y2V9IwhFgxqsdF_qGqOFkpGPLzFe1mE-BfD3aTOk3ZgI5PBL63SZUtGnbR3tqAg/s756/F.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Garden (Detail View 6)" border="0" height="600" data-original-height="756" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpNWIUtPC4NGhgBzboZ7EPgAF8Ldyy_4-mY6-RKBqgB3NN9b-m5g2EpHuAGhBrsJs7DaWD1hVvFOdIRwIKcqUMXKiIU5N_lMyvd0oE4ijAFIbp1v_nVEN3Wn0vJz7x8Y2V9IwhFgxqsdF_qGqOFkpGPLzFe1mE-BfD3aTOk3ZgI5PBL63SZUtGnbR3tqAg/s600/F.jpeg"/></a></div>
‘Graffiti Garden’ (Detail View 5).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi35JWXxhIZAr8jv3P7MLmLtaKDCmZ_XNd4daEY2wS7qy94MiG0pU530Q8WDvzNyJAwfEAFW0NrM2u66jkiVbbum3SHerXN7LwHs-znEcq1ox-ql4ZOi3qsTaTcvWJNia7Hzh5iGxcevvrHcAI6aJQPLoAlrMnzSUdkTSsI7ovEepSREqSwfWfqZNBQTajZ/s697/G.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Garden (Detail View 7)" border="0" height="600" data-original-height="697" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi35JWXxhIZAr8jv3P7MLmLtaKDCmZ_XNd4daEY2wS7qy94MiG0pU530Q8WDvzNyJAwfEAFW0NrM2u66jkiVbbum3SHerXN7LwHs-znEcq1ox-ql4ZOi3qsTaTcvWJNia7Hzh5iGxcevvrHcAI6aJQPLoAlrMnzSUdkTSsI7ovEepSREqSwfWfqZNBQTajZ/s600/G.jpeg"/></a></div>
‘Graffiti Garden’ (Detail View 6).<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDoQGdoIBS0M-eDSRxKa_Mj7eMk2lEXoW8iSDiLEAoCEHMZdmhgo1J6zMzNKwOOttpnenk_Qy-gE7oBc2s3C-8gBe_MCaJVJ0TVwWl3IlKgMXjWfcTDBe-FKowd8Rkd60mZB_9KdNhf0Yk5GAzbmR1zu-kVxW3G_SqrhsdWRLj8swsr8lBCg9hjphLYuU1/s756/H.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Garden (Detail View 8)" border="0" height="600" data-original-height="756" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDoQGdoIBS0M-eDSRxKa_Mj7eMk2lEXoW8iSDiLEAoCEHMZdmhgo1J6zMzNKwOOttpnenk_Qy-gE7oBc2s3C-8gBe_MCaJVJ0TVwWl3IlKgMXjWfcTDBe-FKowd8Rkd60mZB_9KdNhf0Yk5GAzbmR1zu-kVxW3G_SqrhsdWRLj8swsr8lBCg9hjphLYuU1/s600/H.jpeg"/></a></div>
‘Graffiti Garden’ (Detail View 7).<br />
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‘Graffiti Garden’ (Detail View 8).<br />
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‘Graffiti Garden’ (Detail View 9).</span>
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</div> Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-23746310744496537012024-03-09T07:00:00.041+11:002024-03-09T12:21:32.408+11:00Janet De Boer: A Unique Multi-Dimensional PersonalityGuest CreativeMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">My first interaction with Janet De Boer was in 2001 when I wrote an article featuring my first solo exhibition, ‘CODES – Textile Installation,’ which was published in Volume 20, Issue 4, Number 64, of ‘Textile Fibre Forum’ (TFF) magazine under the fearless editorial guardianship of Janet De Boer. Since that time, numerous exhibition and textile related articles of mine were published in TFF magazine. The first precursor of TFF was published in 1981 and ceased with issue No. 111 in 2013, with Janet being the sole editor - a true pioneer and inspirational force of nature! Janet’s editorial vision changed perceptions of textile and fibre arts by promoting contemporary Australian textiles with artist profiles, exhibitions, textile events and more, and in doing so, exposing Australian practitioners to international and national audiences.<br />
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In 2011, TFF changed ownership to ArtWear Publications. In 2013 I was invited to take up the position of co-editor of TFF and from September 2013 to June 2015 I had the privilege of working alongside Janet as co-editor of the magazine. Her insights into the creative process and her talent for cultivating some of Australia’s most innovative and exciting artists has shaped the history of textiles in this part of the world.<br />
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Janet’s entrepreneurial spirit coalesced into the creation of her famed and funtastic - ‘Fibre Forum’ conferences - which ran for decades. International and nationally renowned artists were invited to tutor exceptional textile, fibre, and/or complementary workshops in their field of specialization. Exhibitions, installations, artist talks, together with a merchant’s/trader's hall, featured heavily during the mostly five day conferences which were held in various parts of Australia.<br />
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I was fortunate and honoured to have been invited to tutor at 4 five-day ‘Fibre Forum’ conferences from 2008 to 2010 where I taught my ‘In Pursuit of Complex Cloth: Complex Cloth Intensive’ at such venues as the 2008 Wrapt in Rocky, Biennial CQ Textile Forum Conference, Rockhampton, Queensland, Australia; at the 2009 Orange International Fibre Forum Conference, Orange, NSW, Australia; and at the 2009 Geelong International Fibre Forum 10th Anniversary Conference, Corio, Victoria, Australia, where I was also invited to exhibit as a 'Feature Artist' alongside American tutor and artist Mary Edna Fraser at Geelong Grammar School’s Sinclaire Gallery. In 2010 I tutored my ‘In Pursuit of Complex Cloth: Disperse Dye and Transfer Printing,’ at Wrapt in Rocky, Biennial CQ Textile Forum Conference, Rockhampton, Queensland, Australia.<br />
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Glam, glitz, and dressing-up were encouraged by Janet and her team. Like a mischievous ringmaster, she introduced exciting new ideas, formats, people and events to an audience who carried these ‘Fibre Forum’ memories and experiences with them for the rest of their lives.<br />
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A role model who set the highest of standards, Janet’s many other talents and achievements include working as a weaver, an occupational therapist, being CEO of The Australian Forum for Textile Arts Ltd (TAFTA) as well as founder, owner and manager of Gallery 159 in Brisbane. In retirement, Janet publishes a free E-bulletin titled -‘Fibre Forum’ - and writes for various national and international textile magazines.<br />
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Janet’s contribution to the field of textile/fibre arts cannot be underestimated. In 2004 she was awarded the prestigious ‘Order of Australia Medal’ (OAM) for ‘service to the development and promotion of textile arts, particularly as Executive Director of The Australian Forum for Textile Arts Ltd.’<br />
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A generous and adventurous spirit, Janet is a connector, a mentor, a motivator, an inspiration, and a most loyal and hard-working individual. Through her world view she has given contemporary textile arts, makers, and educators a greater visibility and acceptance with her in-depth stories, cutting edge imagery, and creative flair reaching millions of people via her numerous platforms.<br />
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Morevoer, Janet loves her husband and her extended family. I know you will enjoy Janet’s journey as much as I have.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Janet De Boer: A Unique Multi-Dimensional Personality</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">I was born on a chicken farm in Newberg Oregon in 1946, and lived in the USA until 1975 when I went on a working holiday to Australia as an Occupational Therapist, and ended up staying. I became an Australian citizen in 1995 - a dual citizen in fact. In 2004 I was awarded an OAM (Order of Australia Medal) for 'Service to the development and promotion of textile arts, particularly as Executive Director of The Australian Forum for Textile Arts Ltd.'<br />
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The first 30 years in the USA included learning to weave on a whim (and a loom) in New York City (NYC), circa 1970. I had been Temping in various media agencies, having received a degree in Mass Communications by then. My weaving tutor was Paula Adler who had studied with Jack Lenor Larsen. Weaving had not become such an active pursuit at that time, as was the case over the next ten years or so, with more suppliers setting up, opportunities to learn and the publishing (or republishing) of many books. For me the lessons with Paula and access to looms, yarns and ideas constituted a total 'AHA' moment, and as NYC itself was not working out, I returned to my by-then hometown of Loveland, Colorado (USA) and started giving weaving lessons in a small recycled horse barn (having built my own teaching looms which were nothing to write home about). There was one episode in between. Paula had recommended me to a firm in NYC that wove fabric samples for the power loom industry and tried to get orders for mass fabric production for weaving factories in the southern USA (all gone by now of course). I was hired and became essentially a technical weaver, full-time, for my final year in NYC, working out of the 34th floor of a skyscraper in Times Square. I loved weaving so much that I bought a small second-hand Leclerc loom, moved it into a three-bedroom flat I shared with four other people (to be able to pay the rent) and wove every night after dinner, freelance – again, fabric samples to specification. Moving forward – I became an Occupational Therapist in 1973.<br />
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In 2010 I am shown on a visit to Loveland, home of Interweave Press, at Linda Ligon’s office. By this time Linda had mostly retired from Interweave Press (doing videos only). She eventually started Thrums so she is still publishing quality material. Linda was always kind enough to say I had taught her to weave in the first part of the 1970s, which coincides with the time Linda was thinking of leaving teaching and taking up publishing - and playing with the idea of ‘Interweave.’ Interweave Press came about close to the time that I left for an Australian ‘visit’ in 1975.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoJsTpGn46NvP0cHlwmQtu8zy5Nvca4EiHalgr709vx5lDHFVGFBC_-uq4ZauJkqEsj__bFfQQSjISHVJXREoKwP0-w8FwnrTF4Jss7kprhfdsBAWAnLEoEso6HCsV_Fb1mqARUg0JnmXehrfTJglls0IqtBlWKh2nD4wHCiDfrk4or6A7YwiaFpmW6Nea/s660/1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Linda Ligon" border="0" width="500" data-original-height="644" data-original-width="660" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoJsTpGn46NvP0cHlwmQtu8zy5Nvca4EiHalgr709vx5lDHFVGFBC_-uq4ZauJkqEsj__bFfQQSjISHVJXREoKwP0-w8FwnrTF4Jss7kprhfdsBAWAnLEoEso6HCsV_Fb1mqARUg0JnmXehrfTJglls0IqtBlWKh2nD4wHCiDfrk4or6A7YwiaFpmW6Nea/s600/1.jpg"/></a></div>
<i>So this picture with Linda was taken 35 years later when I was 64 years old</i>.<br />
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By 1978 I was teaching Occupational Therapy at the University of Queensland and getting to know the art/craft scene in Australia. A small group called AFTA (Australian Forum for Textile Arts) had formed in 1974 at a meeting held at Sturt workshops, Mittagong, NSW. Their hope was to improve teaching skills (for weaving in particular) and design awareness. About 25 people attended and they agreed to hold biennial gatherings.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkz8pZWzCE0cOaYOd17hxvKYRiizDnI4pqFeVIijwn7PGVdt0PCrpLvOl1aG4ZDc9VBy4Iau5f2JE1EfGH5RJ1IdHiVaeGKg0gfGGRB0D3cWa5h991j_5udtfxSEpbnI2uW10ZvJitPPcstdgVfMGhBVRvxLEL_cBYVLLl19hTueoIPXPsCfRGtPQAMU4Y/s878/2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Sturt Gallery" border="0" width="500" data-original-height="630" data-original-width="878" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkz8pZWzCE0cOaYOd17hxvKYRiizDnI4pqFeVIijwn7PGVdt0PCrpLvOl1aG4ZDc9VBy4Iau5f2JE1EfGH5RJ1IdHiVaeGKg0gfGGRB0D3cWa5h991j_5udtfxSEpbnI2uW10ZvJitPPcstdgVfMGhBVRvxLEL_cBYVLLl19hTueoIPXPsCfRGtPQAMU4Y/s600/2.jpg"/></a></div>
<i>Part of the renowned Sturt Gallery and Studios (Mittagong, NSW, Australia)</i>.<br />
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A number of things resulted from this conference, including the decision to go ahead with a magazine, ‘Fibre Forum,’ subsequently titled 'Textile Fibre Forum.' To this end, $1,500 had been raised, but nothing more came of it. Until Brisbane hosted one of the ‘AFTA’ biennial gatherings calling it, "FORUM ’80," and concentrating on workshops and communication among a wide variety of textile crafts people. Betty and Tony Franks and I were the organizing committee and we were provided with $50 seeding money. Since all three of us worked at the University of Queensland, that was where "FORUM ’80" was held with 10 workshops running over a week.<br />
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In 1981, along with Jan Scudamore. I produced the first issue of what became Textile Fibre Forum (TFF) which originally came out twice a year (black and white only). Then as sole editor, I took the magazine to three issues per year (usually 60 pages with around 10 in colour); then it went to half the pages in colour (1987) and then TFF became quarterly in 2000, ending up being full colour. With issue #103, Textile Fibre Forum ceased to be the property of TAFTA (The Australian Forum for Textile Arts Ltd.) and moved to its current owner, ArtWear Publications. I was sole editor up to and including issue #111 and joint editor for 8 more copies, when I retired.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZAD_hqG6k7w_n94Ib9uIL0vvgE6B8986-gdc8GhRJlv4yVAFIk8ruCEx88TtG-rPaz-2gJs0WYSrD88KW9gijY-hUafJ0STS5BpD0xKU7JGSm1e_koYOsBZxVpd6OPT-dBXXOjnbW3vuTzb2u35ibhc0YbVyCs0HFdTcrEcjoZmhDrRp3-ll94fsumfXG/s856/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Issue 103" border="0" height="600" data-original-height="856" data-original-width="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZAD_hqG6k7w_n94Ib9uIL0vvgE6B8986-gdc8GhRJlv4yVAFIk8ruCEx88TtG-rPaz-2gJs0WYSrD88KW9gijY-hUafJ0STS5BpD0xKU7JGSm1e_koYOsBZxVpd6OPT-dBXXOjnbW3vuTzb2u35ibhc0YbVyCs0HFdTcrEcjoZmhDrRp3-ll94fsumfXG/s600/3.jpg"/></a></div>
<i>Artwork for TTF Issue #103 by Cathy Moon</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJPPHqou45qjhRvliDWVq5vbuFi3z45ogwqytQr9xIduLFv8jeER_ymJdSstKjSsh15grUlEFmdxaT9KSyXAUIIydXigpfc_2zDIgnrxgHqNtwA-Fo85RNCHkXkFOhUMmkdYQpLWqN4KYocjnRTcEnn-btt4iJwhyphenhyphenA7bq6DZhwPH7PRQVhwKK2qn9L1Jl/s752/4.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Issue 111" border="0" height="600" data-original-height="752" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCJPPHqou45qjhRvliDWVq5vbuFi3z45ogwqytQr9xIduLFv8jeER_ymJdSstKjSsh15grUlEFmdxaT9KSyXAUIIydXigpfc_2zDIgnrxgHqNtwA-Fo85RNCHkXkFOhUMmkdYQpLWqN4KYocjnRTcEnn-btt4iJwhyphenhyphenA7bq6DZhwPH7PRQVhwKK2qn9L1Jl/s600/4.jpg"/></a></div>
<i>Artwork for TTF issue #111 (above)</i>.<br />
Note: A detail of a banner by Susan Holmes.<br />
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Backing up: 1987 not only saw TFF including much more colour but the magazine was also widely sold in newsagents. And this was the year when it became possible to form a national not-for-profit arts company 'limited by guarantee' (The Australian Forum for Textiles Arts Ltd.) with a Board of Directors and an employee – Janet De Boer, CEO – who kept that position until the company dissolved in 2016, having served its purpose in creating viable models for publishing and conferences that were subsequently adopted by others.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU4NU36SDopEDjrgYwqcx8V2En6u94yjfZtqHnXjS0CkLiZJ2etD1cNCl12fbJ5s6Ke0XkwpNYloe5_vAxHNWGkoY5PT2bC_QQkyWi29g_gGP2esBvjP76AHKTU5ubXLMO37izzBNTHnKITfmZao09z6pLsKv5FGkZQsAorBU7gF9_IeNTGkbUV9T0mURg/s972/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Svea Bjornson with Janet" border="0" width="500" data-original-height="664" data-original-width="972" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU4NU36SDopEDjrgYwqcx8V2En6u94yjfZtqHnXjS0CkLiZJ2etD1cNCl12fbJ5s6Ke0XkwpNYloe5_vAxHNWGkoY5PT2bC_QQkyWi29g_gGP2esBvjP76AHKTU5ubXLMO37izzBNTHnKITfmZao09z6pLsKv5FGkZQsAorBU7gF9_IeNTGkbUV9T0mURg/s600/5.jpg"/></a></div>
<i>Svea Bjornson with Janet getting ready to play Dorothy in the Wizard of Oz at a FORUM party</i>.<br />
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The FORUM conferences continued to evolve, moving from State to State until Sturt Craft Centre at Frensham School, Mittagong (NSW, Australia) became a permanent ‘home’ for a week each April for 14 years until 2004. (So ‘AFTA’ came home...) During this time The ‘Geelong FORUM’ was also created for a week starting late September and and has lasted well over two decades, now under new leadership. Quite a few ‘Regional FORUMs’ also came about, which TAFTA auspiced in various Australian States. For example, Fibres West is one of the great survivors in Western Australia. I also organized three ‘Briz-Vegas’ FORUMs for my hometown of Brisbane, Queensland (Australia).<br />
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The typical format of a FORUM was created as a mutual effort over time and while each was definitely workshop based, they included lots besides and were highly celebratory. Young people were strongly encouraged to attend a FORUM – initially there were workshops for those aged between 13-20 years old, but it was discovered that they could easily fit in with the main demographic – women over 50 with disposable incomes.<br />
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Scholarships were offered to aid those whose incomes were far from disposable. In addition to more expected ‘textile’ subjects, workshop themes stretched to, for example, jewellery, millinery, shoemaking, bellydancing (including costume making) and even wig making.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOSVFoepo-XMbrN7GpqpEVOue0DdnYfK4gxRcQsh_zashx3Q65WG9dntqD2Jl8b3a4PHp9QMBCuRdQRaC2jUbgSLujTDqSe4K_iF-fbNEqLbEFbgfl1OmPBsir1t7GImnHIs0oupI-ZGSsGeHvqFFWvGbjDgXD_Fu6XGaHVEmJ5kqO5qUPweIKDnigISeo/s710/6.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Nikita Vanderbyl" border="0" width="500" data-original-height="612" data-original-width="710" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOSVFoepo-XMbrN7GpqpEVOue0DdnYfK4gxRcQsh_zashx3Q65WG9dntqD2Jl8b3a4PHp9QMBCuRdQRaC2jUbgSLujTDqSe4K_iF-fbNEqLbEFbgfl1OmPBsir1t7GImnHIs0oupI-ZGSsGeHvqFFWvGbjDgXD_Fu6XGaHVEmJ5kqO5qUPweIKDnigISeo/s600/6.jpg"/></a></div>
<i>Nikita Vanderbyl, a scholarship student, appears in her yellow wig, with Janet in part of her belly dancing costume</i>.<br />
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Every FORUM had at least one major party with lots of dress-ups and a live band (even an Elvis Impersonator on one memorable occasion!)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3B2U95lKVhQ6x87dJsgL2UgSF2oQ_qJLRj7s1ZtDXEGP3SXu18dMiIh-9eoS4wrpfaaRqs7ypkd6yuqMBpfx394b5YAnb5leqeuo09tD7MFC2dxXHxEzDqquQf1dmtkCN9JhZ0tfAQrl6tbY4k-_JpugRE_yI5wwdsZW88AbKQJ8qPiO6OQAqYs193y9f/s788/7.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Elvis" border="0" height="600" data-original-height="788" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3B2U95lKVhQ6x87dJsgL2UgSF2oQ_qJLRj7s1ZtDXEGP3SXu18dMiIh-9eoS4wrpfaaRqs7ypkd6yuqMBpfx394b5YAnb5leqeuo09tD7MFC2dxXHxEzDqquQf1dmtkCN9JhZ0tfAQrl6tbY4k-_JpugRE_yI5wwdsZW88AbKQJ8qPiO6OQAqYs193y9f/s600/7.jpg"/></a></div>
<i>Janet appears at the Bellagio in Las Vegas in 2015 with her 'Kissing Elvis' handbag direct from Graceland, evidence of an on-going fascination with the Elvis phenomenon</i>.<br />
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With assistance from the Australian Department of Foreign Affairs (DFAT), TAFTA was able to bring artisans to Australia from the UK, India, Japan, Korea and Indonesia. Otherwise funding was very minimal and TAFTA positioned itself to be self supporting from the very beginning.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbm9lkOyyT3rGg2Z03Zg7QyMY8QU_gOFTG-hff3kEWiitUXQ4JCJHVOv6YAIStOUhiQK09qibVa4-lU0DQ5_R3woXXVkS80XyurWLG4fyNAkRqJJ_mQXk5NGgyMiV-QYzpaQY3TxWh-Hmos3iH6dKT1UpFF8m4YGA0fbLHvCYnKOrQUKlkUjHZUYe7Re42/s662/8.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Rabari embroiderer" border="0" width="500" data-original-height="596" data-original-width="662" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbm9lkOyyT3rGg2Z03Zg7QyMY8QU_gOFTG-hff3kEWiitUXQ4JCJHVOv6YAIStOUhiQK09qibVa4-lU0DQ5_R3woXXVkS80XyurWLG4fyNAkRqJJ_mQXk5NGgyMiV-QYzpaQY3TxWh-Hmos3iH6dKT1UpFF8m4YGA0fbLHvCYnKOrQUKlkUjHZUYe7Re42/s600/8.jpg"/></a></div>
<i>I appear above in 2008 with Lachhuben, a Rabari embroiderer from Kutch</i>.<br />
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Installations have always been encouraged at the FORUM. In 2012, Evelyn Roth, well known for her huge inflatables, provided a two-story high chicken for the grounds of Geelong Grammar School, (Corio, Victoria, Australia) home of the ‘Geelong FORUM.’ A tribute to my chicken farm origins?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihOA2bwscIq8g2xS-7KNe_ft3AnIqBIrQhpXUgwsA-1aouSM3HTJFyPSiTbP9GAMBwFriBIwjjCCSFlXoSkIwh6tnjwatAj3P3ugUvESgaGVAIWvYoMv_CtRo3-5RJXQDozHdYAGCejNXLo8qw3Ayr2TgrtBMypJjdxoTPFcUJmlMNH26ROdxso8NaQr_p/s712/9.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Chicken" border="0" height="600" data-original-height="712" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihOA2bwscIq8g2xS-7KNe_ft3AnIqBIrQhpXUgwsA-1aouSM3HTJFyPSiTbP9GAMBwFriBIwjjCCSFlXoSkIwh6tnjwatAj3P3ugUvESgaGVAIWvYoMv_CtRo3-5RJXQDozHdYAGCejNXLo8qw3Ayr2TgrtBMypJjdxoTPFcUJmlMNH26ROdxso8NaQr_p/s600/9.jpg"/></a></div>
<i>Evelyn Roth's two-story high chicken</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Za9WUylXeDOsknuSSqOw6N3hHpOduy5vstdmPQS8_2nqC6Yb9krOKn-_kzY5pLru3YN5ecDiBOzN0_lrlItAKsKoRm6niTcXMjpo5iXVe77bDnabqFHgDQpHsvpf52f5NxTaS-NTPVspMf1M2U3Pqva62mQOuyp0fodj9vWHOoFwEWWZtRZ8eyEi-pLQ/s694/10.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Jellyfish" border="0" height="600" data-original-height="694" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Za9WUylXeDOsknuSSqOw6N3hHpOduy5vstdmPQS8_2nqC6Yb9krOKn-_kzY5pLru3YN5ecDiBOzN0_lrlItAKsKoRm6niTcXMjpo5iXVe77bDnabqFHgDQpHsvpf52f5NxTaS-NTPVspMf1M2U3Pqva62mQOuyp0fodj9vWHOoFwEWWZtRZ8eyEi-pLQ/s600/10.jpg"/></a></div>
<i>Jellyfish in the trees by Aly de Groot who makes them from fishing line and creates masses of them to remind people of a marker of climate change, the proliferation of jellyfish</i>.<br />
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Also on the grounds of Geeong Grammar School were the following.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiwaxXjaEv28xiqBpxn4RGnjfBqAzfurtsT5mll9riTEJeAEzEnpsNG7lJOh2NTqpfKgO4v0R05Ep650dDP6iUe9omRHTYbj-FKcmrUZbmU9tMiSvkrqKFJEvV8p1fV6_deOVJ4qZ2wYkG75wqTAYvMRHWfavt_gszJzn1uiR5ofzM8WRtOGbQC6mhXYQI/s832/11.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Yurt" border="0" width="500" data-original-height="648" data-original-width="832" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiwaxXjaEv28xiqBpxn4RGnjfBqAzfurtsT5mll9riTEJeAEzEnpsNG7lJOh2NTqpfKgO4v0R05Ep650dDP6iUe9omRHTYbj-FKcmrUZbmU9tMiSvkrqKFJEvV8p1fV6_deOVJ4qZ2wYkG75wqTAYvMRHWfavt_gszJzn1uiR5ofzM8WRtOGbQC6mhXYQI/s600/11.jpg"/></a></div>
<i>The Yurt, created through the efforts of Martien van Zuilen, who brought many felters together from around Australia to effect its creation at a Mittagong FORUM workshop</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGu5kVjzpa_EShHQE6EUcOzmsLMJKpRSyZsVAtIhAYsZ3OhS4-nD4Zx0ApyWR2xjMQ78NKRlisWpcc2z5vET6M_G56uoD1mEQyk19fHwKBeOyZmSSja4JMGBOTxLAkQWLH4QMNaQHVStsqokX8es2F1P6nsE-COH5Fr8Swcsc5-UGIBQcMFu5z2mA5PN4U/s896/12.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Banners" border="0" width="500" data-original-height="668" data-original-width="896" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGu5kVjzpa_EShHQE6EUcOzmsLMJKpRSyZsVAtIhAYsZ3OhS4-nD4Zx0ApyWR2xjMQ78NKRlisWpcc2z5vET6M_G56uoD1mEQyk19fHwKBeOyZmSSja4JMGBOTxLAkQWLH4QMNaQHVStsqokX8es2F1P6nsE-COH5Fr8Swcsc5-UGIBQcMFu5z2mA5PN4U/s600/12.jpg"/></a></div>
<i>Banners created and hung by Susan Holmes at Springwood High School in the Blue Mountains of NSW where a style of ‘FORUM’ called ‘ContextArt’ came about in 2012</i>.<br />
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Every FORUM featured a 'Merchants Hall' and a selling day for participants and tutors. It was often possible to hold major exhibitions on the venue’s premises and in other cases, local galleries became involved. Even the Bar staff got to dress up!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirjiw8UlUOTtOIXNwE66SxvzLg1iK8xrGLVhQVqAVaogbJjyPJZ6u2vk6ITJOkN_PX_uwHMtw7MJ0_gEfANM6LSdiGgAMF5_wCRbZ9mbw8TJbav08MTjllUKzImqgk13bRJ6woSEmLK8wsQSkjBE0FSU-BSLyYJLdbYWMKC072rUytwtAcJD0oSbN0TnfB/s892/13.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Evelyn Roth" border="0" width="500" data-original-height="772" data-original-width="892" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirjiw8UlUOTtOIXNwE66SxvzLg1iK8xrGLVhQVqAVaogbJjyPJZ6u2vk6ITJOkN_PX_uwHMtw7MJ0_gEfANM6LSdiGgAMF5_wCRbZ9mbw8TJbav08MTjllUKzImqgk13bRJ6woSEmLK8wsQSkjBE0FSU-BSLyYJLdbYWMKC072rUytwtAcJD0oSbN0TnfB/s600/13.jpg"/></a></div>
<i>I'm dressed by Evelyn Roth, just for fun – and for a Geelong FORUM party night</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYVANrAZXs8VmI4BE2B8MkOfT84zhuhBiYPzVLSmhBezjpggBp_U2xyIYv_ptTq7WZ9TfcT5eY_oteqSUaOZ0U8h8gvBJDCu5z95MrpDpsO5fQUunxZq2Pl2B1B1NT4_WRK9SCH-qMChX0-VNfezmWBtVa6Yx63XR2ppgg3S6np8SDRPao7KVYRB4dSH6/s922/14.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Gathering" border="0" width="500" data-original-height="676" data-original-width="922" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYVANrAZXs8VmI4BE2B8MkOfT84zhuhBiYPzVLSmhBezjpggBp_U2xyIYv_ptTq7WZ9TfcT5eY_oteqSUaOZ0U8h8gvBJDCu5z95MrpDpsO5fQUunxZq2Pl2B1B1NT4_WRK9SCH-qMChX0-VNfezmWBtVa6Yx63XR2ppgg3S6np8SDRPao7KVYRB4dSH6/s600/14.jpg"/></a></div>
<i>The Bar staff far left: My step- daughter Lisa Wojciechowski; at back Martien van Zuilen; at right, Carolyn Love and in front, Fiona Gavino. AKA The Fridas of the Geelong FORUM</i>.<br />
<b>Note:</b> An added bonus: massage therapy and reflexology could be booked at each FORUM.<br />
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The ‘FORUM’ varied from having 10-25 workshops depending on the ambitions of each, and most were residential, but the format did vary as living in suits most but not everyone. A lot of hard work was involved for many people. A mobility scooter really helped with classroom deliveries, luggage assistance, rehydration and keeping the mood positive even when body joints begin to ache.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGGlF_Nz3apgdLyHHQAWCpZXdPR_H6YiNg31zXjJ00UUZCmxxf2FTQ2rhB9EkcYP8qp9Yro_gnBySSm0FltXA9EFox4hVfex5zeVBXELl8lcpYcQ4lHNi9o7Mb3-Tlnx5a-tpEhfT21VEgVII1vjFiDncEg0LoB7LGKQEggsCdhtYVuHiZOnE5Mo0cz1Km/s884/15.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Scooter" border="0" height="600" data-original-height="884" data-original-width="772" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGGlF_Nz3apgdLyHHQAWCpZXdPR_H6YiNg31zXjJ00UUZCmxxf2FTQ2rhB9EkcYP8qp9Yro_gnBySSm0FltXA9EFox4hVfex5zeVBXELl8lcpYcQ4lHNi9o7Mb3-Tlnx5a-tpEhfT21VEgVII1vjFiDncEg0LoB7LGKQEggsCdhtYVuHiZOnE5Mo0cz1Km/s600/15.jpg"/></a></div>
<i>The scooter and me</i>!<br />
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False eyelashes are vital, and easy to make out of recycled feather boas. When people start to tell you that you look tired, just slip into a pair of these and suddenly they stop... False eyelashes also make great prizes, especially for visiting tutors who have been known to remark that they had never before experienced anything like a FORUM. The bottom line: if you get people tired but happy, their creativity tends to be unleashed – and then you throw into the mix 'Some Silly.' A great formula for artistic pursuits.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMnv6PDCfYpB_fXMipR7UfGTXg_y7QAVXo5iPO5_RetXZVcZIqD97EiMFp-ZpiwjHUsBIBsGU6fnJAme-M4snlMK1i0lFegJcsuDmPeF4Sq7p6Q61VKyCKNlC_eJ6QJ7Q8OgiT65sq7oTRilHByPbdju9MDR-E3s1Zu-NgM9M6DyGAc-NT5TGWwgudPc5f/s664/16.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Eyelashes" border="0" height="600" data-original-height="664" data-original-width="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMnv6PDCfYpB_fXMipR7UfGTXg_y7QAVXo5iPO5_RetXZVcZIqD97EiMFp-ZpiwjHUsBIBsGU6fnJAme-M4snlMK1i0lFegJcsuDmPeF4Sq7p6Q61VKyCKNlC_eJ6QJ7Q8OgiT65sq7oTRilHByPbdju9MDR-E3s1Zu-NgM9M6DyGAc-NT5TGWwgudPc5f/s600/16.jpg"/></a></div>
<i>Eyelashes and me</i>!<br />
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Close attention was always paid to the finances of TAFTA Ltd., and of course an annual audit was legally required. Sometimes it felt like a painful struggle but then, many artists have this ongoing issue, not just arts administrators. (I often considered myself the lucky one, compared to what I have seen visual artists had to endure).<br />
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The decision was made in 2000 to make TFF a quarterly magazine and to run 3-4 FORUM events a year through TAFTA, most notably the large Geelong FORUM – more work, a lot more, but a financial corner was turned. And by 2003 enough money had accumulated so that the TAFTA Board of Directors felt they could provide the CEO with a substantial lump sum to top up her superannuation. But what I really wanted was an office! And secretly my husband and I also wanted a gallery. So plans were drawn up for what became a two-story extension of our home, with covered walkway and so we created Gallery 159, since we lived at No. 159 in the Brisbane suburb named, 'The Gap.'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_wmGwPkdPaOvCtcS8mktWLqa38bbUi0R_r0HeEUQx1oonkQf-XuiLWM6lbGwkc4cCArKgWdqSDqDUcPatp8blriF8kfIdhf7O6YK0VGd3QiXNeWln99HIWq3fYd3PKZ07aG1sgCJ14_OIjnsbkXl0F9tWoKrkN4GutEi6180yx_5UYW-8XIuUWJz_xeP/s1622/17.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Phone to Gallery" border="0" width="500" data-original-height="710" data-original-width="1622" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_wmGwPkdPaOvCtcS8mktWLqa38bbUi0R_r0HeEUQx1oonkQf-XuiLWM6lbGwkc4cCArKgWdqSDqDUcPatp8blriF8kfIdhf7O6YK0VGd3QiXNeWln99HIWq3fYd3PKZ07aG1sgCJ14_OIjnsbkXl0F9tWoKrkN4GutEi6180yx_5UYW-8XIuUWJz_xeP/s600/17.jpg"/></a></div>
<i>From a phone box to an upstairs office in a gallery building</i>!<br />
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Okay the phone box is a bit of an exaggeration, but when I travelled, for example to Grampians Texture in Halls Gap (and when WiFi could be very uncertain, which it no longer is, I hasten to add) it was important to ring my answering machine at the home office in Brisbane.<br />
Note: Also shown above, one part of a vast office space I was eventually able to set up in Gallery 159 in Brisbane. Bliss. Oh yes - I also sold quality textile books on behalf of TAFTA.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjirAQuqz300OFFcqXQ3iX6lrBaYiD-xoMnOaWH1ezthDeqoS_IAxgpt_5hNPaLgmeIV267Pzahs3HG5-RuJ7MeRadoGAZn3_VeW2RbuMtQDPdalNBsP26OWPiNwqH9UCCRljxSh1HAqLPKhQSoY6nvUS30ZmlN7A4b08OMWyDBuJeE3d6foTj_wNePDkKs/s1104/18.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Studio" border="0" width="500" data-original-height="824" data-original-width="1104" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjirAQuqz300OFFcqXQ3iX6lrBaYiD-xoMnOaWH1ezthDeqoS_IAxgpt_5hNPaLgmeIV267Pzahs3HG5-RuJ7MeRadoGAZn3_VeW2RbuMtQDPdalNBsP26OWPiNwqH9UCCRljxSh1HAqLPKhQSoY6nvUS30ZmlN7A4b08OMWyDBuJeE3d6foTj_wNePDkKs/s600/18.jpg"/></a></div>
<i>One view of the outside of Gallery 159</i>.<br />
<b>Note:</b> Much of the upstairs was for offices and storage but a long wall was included for hanging work. Downstairs there were major exhibiting areas and a kitchen, with bathroom and storeroom as well.<br />
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Intending exhibitors could apply to the TAFTA board and if their proposal was accepted then dates were set for a 2-3 week showing and the exhibition was guaranteed coverage in Textile Fibre Forum magazine. It was agreed that TAFTA would operate the gallery in the best sense of a not-for-profit; hire fees were low and only 25% was taken on sales. There were 100 exhibitions over 13 years.<br />
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Our house would be to the right in the shot above and a long covered walkway made the gallery effectively an extension of the house. I agreed to manage the gallery for TAFTA until I reached 70 years of age in 2016. Peter and I were allowed to sometimes stray from the textiles area in curating shows, although this was very much the exception. Workshops were also held in the gallery space from time to time including Master Classes (e.g., Ruth Hadlow from Tasmania.)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7li0y69TS9cn__8ekOYGubAhyphenhyphenmKbhzCCOjPVNsefHD0xpF42pYf1uoZ2RQ6i5px4hlV-_PLFluvv4oM5Y24U9wTooCSSeIpt-Jq6LHNVT8bWfP20kMneS6ok2m8YnkF24WdhF-SnynYeedF01PqU2asaes-kExRe-D42ihB2f_q5NEMEivyYJWMUiwRs/s652/19.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Peter Wojciechowski" border="0" height="600" data-original-height="652" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7li0y69TS9cn__8ekOYGubAhyphenhyphenmKbhzCCOjPVNsefHD0xpF42pYf1uoZ2RQ6i5px4hlV-_PLFluvv4oM5Y24U9wTooCSSeIpt-Jq6LHNVT8bWfP20kMneS6ok2m8YnkF24WdhF-SnynYeedF01PqU2asaes-kExRe-D42ihB2f_q5NEMEivyYJWMUiwRs/s600/19.jpg"/></a></div>
<i>Peter Wojciechowski</i>.<br />
The man who was brave enough to marry me, and help me run a gallery (including many hours doing the lighting for each exhibition, and running the bar during openings.)<br />
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It was agreed that upon my retirement the gallery building would officially be owned by Peter and me. So instead of an increase in superannuation, I was to receive the benefit of this extra building. And that is what came to pass. A good offer was made on the block of land and buildings, and was accepted, so we moved on and Gallery 159 is no more. But having a gallery in one’s backyard can be highly recommended!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhragmynOVfMZHBFxQttMVc1kwdf7rp_twtLbreOnPnATWJeJAdXWHN_JK9RwEbO-lteR9cGhjq15lYTSv1QjVa3FdC8MedusNA6hRIXTcuXlaO_5OmzZXKCmJOy9AuE_evhY1wCWfEceJ8zV1MaRikjpBB8SxZPfAlZ9q4Hlwhd92tE3YfcXDbvPr3keh7/s1206/20.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Gallery" border="0" width="500" data-original-height="906" data-original-width="1206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhragmynOVfMZHBFxQttMVc1kwdf7rp_twtLbreOnPnATWJeJAdXWHN_JK9RwEbO-lteR9cGhjq15lYTSv1QjVa3FdC8MedusNA6hRIXTcuXlaO_5OmzZXKCmJOy9AuE_evhY1wCWfEceJ8zV1MaRikjpBB8SxZPfAlZ9q4Hlwhd92tE3YfcXDbvPr3keh7/s600/20.jpg"/></a></div>
<i>This hints at the way that Gallery 159 presented, although it’s only a small part of Gallery 159</i>.<br />
<b>Note:</b> This was a group show staged by hand weavers.<br />
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A lot was achieved over all those years. It still takes me by complete surprise that my life headed in this direction and I was able to sustain my enthusiasm right to the end. I was helped by some excellent people who sat on my Board for terms of 2-4 years (and would then sometimes agree to again be available at a future date).<br />
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Actually when I do start to remember all the fabulous people, the list becomes unmanageable. Tribute must be paid, however, to Jude Skeers, a master knitter, primary school teacher and effectively my 2IC – when it came to devising and running the FORUM conferences in particular.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwIHtkD8myNzowBN1O9-8ZiROvcmc4QAvkGHmbMN69jBbrogIbJpg7ZK0K32P8L3C_3OipvdFXpyHz4n2q1bPgZ-yhyphenhyphenC_02mhpJaxqiYSWi4HOlRAvWS8dVnDlRXtMLKjsT7esVKwK16LWWJ1Mmo9J_I0BKIQ5fq9sqDm26z09EUBbfZQo8ws6Ql1GQi_B/s1016/21.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Jude and I in 2012" border="0" width="500" data-original-height="788" data-original-width="1016" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwIHtkD8myNzowBN1O9-8ZiROvcmc4QAvkGHmbMN69jBbrogIbJpg7ZK0K32P8L3C_3OipvdFXpyHz4n2q1bPgZ-yhyphenhyphenC_02mhpJaxqiYSWi4HOlRAvWS8dVnDlRXtMLKjsT7esVKwK16LWWJ1Mmo9J_I0BKIQ5fq9sqDm26z09EUBbfZQo8ws6Ql1GQi_B/s600/21.jpg"/></a></div>
<i>Jude and I in 2012 at the Carrington in the Blue Mountains during a party we staged in conjunction with the first ‘ContextArt’, very much a FORUM although non-residential</i>.<br />
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Our last gasp, after working together on these events for more than 30 years, was to create an event that had a weekend workshop component (which we hoped would encourage people to give it a go who could not commit to a full week and the cost of living in) – you could attend for the opening weekend which was followed by a 3-day workshop segment – so many were able to work with two tutors if they could commit full time. It was a great success.<br />
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Jude has always loved hats and our dear friend and expert milliner, Jean Carroll, would make a new one for him, for him to wear at our inevitable fancy dress parties.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsDJy6xgKYMI9CVM5ShSU9L7fd2Ybi3nvhtY4L187A4Y74H27GE9aGHh7JRya-HigghV_WI4GwmU3KhHfP-tMnj0XFebQw98z-64MipopBqEspJzcbzqvM_WXSHFNRlX94_z1-QLPNyQ09l2q8oCMJL83o5bXCtWv63zQTBelfDLKEcWNc0kWrzag2qhcG/s976/22.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Jean and Jude" border="0" width="500" data-original-height="738" data-original-width="976" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsDJy6xgKYMI9CVM5ShSU9L7fd2Ybi3nvhtY4L187A4Y74H27GE9aGHh7JRya-HigghV_WI4GwmU3KhHfP-tMnj0XFebQw98z-64MipopBqEspJzcbzqvM_WXSHFNRlX94_z1-QLPNyQ09l2q8oCMJL83o5bXCtWv63zQTBelfDLKEcWNc0kWrzag2qhcG/s600/22.jpg"/></a></div>
<i>Jean Carroll appears above with Jude, having just presented him with a new hat</i>.<br />
This kind of spontaneous act represents another wonderful aspect of all I was able to be part of – the enthusiasm and generosity of so many people we seemed to inspire. A lot to celebrate!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYZUvWh_VxBiIIfq_QtBUbcFK0eNw7Sn7DzM8-6recV94wVV1pJE_QHNWF-iARju-ofgeiqY5Itk6KPAcLD4RS1GNWrhufoqCQ5iWUpFk5craTXvPZp19GkruK-d3YYG4244w9701fejJKSHtV9fcmV-op930s1-7eSg5m2_KR_w1hlvM4lbMixj59Sut5/s922/23.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="To Celebrate" border="0" height="600" data-original-height="922" data-original-width="686" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYZUvWh_VxBiIIfq_QtBUbcFK0eNw7Sn7DzM8-6recV94wVV1pJE_QHNWF-iARju-ofgeiqY5Itk6KPAcLD4RS1GNWrhufoqCQ5iWUpFk5craTXvPZp19GkruK-d3YYG4244w9701fejJKSHtV9fcmV-op930s1-7eSg5m2_KR_w1hlvM4lbMixj59Sut5/s600/23.jpg"/></a></div>
<i>Retirement commenced at age 65, and was completed by age 70</i>.<br />
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How do I spend my retirement without an audience? I do write some articles about Australian textile artists; I publish a free E-bulletin that people tell me is both entertaining and informative. I have just started a Pest Gazette for the local community garden, and I enjoy myself. For example, I open events when asked. This gives me a chance to wear items from my rather eccentric wardrobe. Most days, I just wear scruffy things from the Op Shop, or my Tai Chi T-shirt along with the elastic waisted pants that characterize my time in life.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEYfFLqlLmTeRS3p1y7FNKACh5GJTdknpast4oaJRYR6dJWNjbscp33jrCVfMBLU6YZQN752n0XAAjLznZcl-cgEf278mhbPCra856Fk7zRAq-tndDG39wTNWLO9MWJSFconPNoQRy1ZN0JseNVSPrQi8xPqQXJObdx9YgfXXQQxjmmL-6KdKs7hyXGUpC/s794/24.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Opening Events" border="0" height="600" data-original-height="794" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEYfFLqlLmTeRS3p1y7FNKACh5GJTdknpast4oaJRYR6dJWNjbscp33jrCVfMBLU6YZQN752n0XAAjLznZcl-cgEf278mhbPCra856Fk7zRAq-tndDG39wTNWLO9MWJSFconPNoQRy1ZN0JseNVSPrQi8xPqQXJObdx9YgfXXQQxjmmL-6KdKs7hyXGUpC/s600/24.jpg"/></a></div>
<i>Event opening</i>.<br />
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I travel to interesting places.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvihw7SR6qPHgiRLRzx4k_skJ8vwWbgpPpa0eZ4CJOghUkngegbqApTlxujU87Yk39STSG60VExLv9fvioYAfykaYrnBiKR8GL8nJA6PlKgpxvgLLCsYuM7IRK33l2evTQ94CdE9cO0T5yhTL0kDLW19p_tMTe2eVmMRJcAjV56JErHGpEHA_tc-l7uia4/s764/25.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Bali" border="0" height="600" data-original-height="764" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvihw7SR6qPHgiRLRzx4k_skJ8vwWbgpPpa0eZ4CJOghUkngegbqApTlxujU87Yk39STSG60VExLv9fvioYAfykaYrnBiKR8GL8nJA6PlKgpxvgLLCsYuM7IRK33l2evTQ94CdE9cO0T5yhTL0kDLW19p_tMTe2eVmMRJcAjV56JErHGpEHA_tc-l7uia4/s600/25.jpg"/></a></div>
<i>Guess where</i>?<br />
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I run workshops on what the well dressed conference manager should be wearing – just kidding! Nevertheless, this is a good way to get people's attention when you are running conferences.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIBJToC9GZVGEdY71WNLgMiBiZ_C_j5Pmr4Xq2zbm81cREY2nF98Sl4YQbixANbJnxDwsQuGBC_Sj9CdvP__L1l2oWAdKa3cpCOrPO8H_Tlh2hs6pHXEb6Pi-P7HiudDDP-RdxfIVABbA1EKK822JpMdEgwYsYqkPkg10SH_-XBFetaSN5XhPR9WeqfgWi/s660/26.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Dress" border="0" height="600" data-original-height="660" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIBJToC9GZVGEdY71WNLgMiBiZ_C_j5Pmr4Xq2zbm81cREY2nF98Sl4YQbixANbJnxDwsQuGBC_Sj9CdvP__L1l2oWAdKa3cpCOrPO8H_Tlh2hs6pHXEb6Pi-P7HiudDDP-RdxfIVABbA1EKK822JpMdEgwYsYqkPkg10SH_-XBFetaSN5XhPR9WeqfgWi/s600/26.jpg"/></a></div>
<i>Felted hat by Liz Evans and glam earrings by Cheryl Bridgart</i>.<br />
Note the specs!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRUaF12cR6iYp9nMKwJucpMQOjHHDUiV7kKRvqb2lvpVr5HKuvR3pM_a_YlLCUaDyJmFrT2GuF8bNbwMrpDH5bz8dHQ0OslnzbcN2cHTU-ZFK9bab6bez1LcpX5mpe4ZCO41g8hXFrAwbFj4aK6ck4qIYEYO13pBz2pQaCHvQwG_ikVwf07N45szXLF8vk/s804/27.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Eyelashes" border="0" height="600" data-original-height="804" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRUaF12cR6iYp9nMKwJucpMQOjHHDUiV7kKRvqb2lvpVr5HKuvR3pM_a_YlLCUaDyJmFrT2GuF8bNbwMrpDH5bz8dHQ0OslnzbcN2cHTU-ZFK9bab6bez1LcpX5mpe4ZCO41g8hXFrAwbFj4aK6ck4qIYEYO13pBz2pQaCHvQwG_ikVwf07N45szXLF8vk/s600/27.jpg"/></a></div>
<i>I accessorize my false eyelashes</i>.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFUO_5n3hsvf_8f-X52GsCV_IS_pkYGRTLsyd6TgCit64JWzrPEgHViikbxb0R-yrYrH3l3RaYUWEb8Q3ftpsaTvisiAl-smnnThyphenhyphenZWyTG5TcKxEwOvjvGsQ4XEPBQeUVIYEuglxecMT6Jw_yJNCBlt8tJxwxt3nke39aQRJLZ7SI-IUXl5Z8NujFC22yr/s978/28.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Canoe" border="0" width="500" data-original-height="646" data-original-width="978" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFUO_5n3hsvf_8f-X52GsCV_IS_pkYGRTLsyd6TgCit64JWzrPEgHViikbxb0R-yrYrH3l3RaYUWEb8Q3ftpsaTvisiAl-smnnThyphenhyphenZWyTG5TcKxEwOvjvGsQ4XEPBQeUVIYEuglxecMT6Jw_yJNCBlt8tJxwxt3nke39aQRJLZ7SI-IUXl5Z8NujFC22yr/s600/28.jpg"/></a></div>
<i>Oh yes - and I kayak</i>.<br />
Note: Dismounting is not what it used to be and you should see me getting in it!<br />
<br />
I trap redclaw at times, and turn them into delicious things to eat. I also cook. And sometimes I even make it back to the USA to visit my beloved family there.<br />
<br />
Textiles have given me the world!</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-17175947368038083982024-03-02T07:00:00.221+11:002024-03-07T18:11:13.540+11:00Pigments for Pastel [1]Art ResourceMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">This is the thirty-first post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:<br />
<a href="https://artquill.blogspot.com/2021/08/drawing-art-resource-marie-therese.html">Drawing Art</a><br />
<a href="https://artquill.blogspot.com/2021/09/painting-part-i-art-resource-marie.html">Painting Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2021/10/painting-part-ii-art-resource-marie.html">Painting Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2021/11/painting-part-iii1-art-resource-marie.html">Painting Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2021/12/painting-part-iv-art-resource-marie.html">Painting Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/painting-art-part-v-1-art-resource.html">Painting Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/02/painting-art-part-vi-1-art-resource.html">Painting Art - Part VI</a><br />
<a href="https://artquill.blogspot.com/2022/03/home-made-painting-art-materials-art.html">Home-Made Painting Art Materials</a><br />
<a href="https://artquill.blogspot.com/2022/04/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/05/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/06/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/07/historical-notes-on-art-part-i-1-art.html">Historical Notes on Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/08/historical-notes-on-art-part-ii-1-art.html">Historical Notes on Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/09/historical-notes-on-art-part-iii-1-art.html">Historical Notes on Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/10/historical-notes-on-art-part-iv-1-art.html">Historical Notes on Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/historical-notes-on-art-part-v-1-art.html">Historical Notes on Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/12/tempera-painting-1-art-resource-marie.html">Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2023/02/oil-painting-part-i-1-art-resource.html">Oil Painting - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/01/oil-painting-part-ii-1-art-resource.html">Oil Painting - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/04/oil-painting-part-iii-1-art-resource.html">Oil Painting - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/05/oil-painting-part-iv-art-resource-marie.html">Oil Painting - Part IV</a><br />
<a href="https://artquill.blogspot.com/2023/06/oil-painting-part-v-1-art-resource.html">Oil Painting - Part V</a><br />
<a href="https://artquill.blogspot.com/2023/07/oil-painting-part-vi-1-art-resource.html">Oil Painting - Part VI</a><br />
<a href="https://artquill.blogspot.com/2023/08/pigments-1-art-resource-marie-therese.html">Pigments</a><br />
<a href="https://artquill.blogspot.com/2023/09/classification-of-pigments-part-i-1-art.html">Classification of Pigments - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/10/classification-of-pigments-part-ii-1.html">Classification of Pigments - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/11/classification-of-pigments-part-iii-1.html">Classification of Pigments - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/12/pigments-for-oil-painting-1-art.html">Pigments for Oil Painting</a><br />
<a href="https://artquill.blogspot.com/2024/01/pigments-for-water-color-1-art-resource.html">Pigments for Water Color</a><br />
<a href="https://artquill.blogspot.com/2024/02/pigments-for-tempera-painting-art.html">Pigments for Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2024/03/pigments-for-pastel-1-art-resource.html">Pigments for Pastel</a><br />
<br />
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:<br />
(i) Units used in dyeing and printing of fabrics;<br />
(ii) Occupational, health & safety issues in an art studio;<br />
(iii) Color theories and color schemes;<br />
(iv) Optical properties of fiber materials;<br />
(v) General properties of fiber polymers and fibers - Part I to Part V;<br />
(vi) Protein fibers;<br />
(vii) Natural and man-made cellulosic fibers;<br />
(viii) Fiber blends and melt spun fibers;<br />
(ix) Fabric construction;<br />
(x) Techniques and woven fibers;<br />
(xi) Basic and figured weaves;<br />
(xii) Pile, woven and knot pile fabrics;<br />
(xiii) Durable press and wash-and-wear finishes;<br />
(xvi) Classification of dyes and dye blends;<br />
(xv) The general theory of printing.<br />
<br />
To access any of the above resources, please click on the following link - <a href="https://artquill.blogspot.com.au/2012/04/units-used-in-dyeing-and-printing-of.html">Units Used in Dyeing and Printing of Fabrics</a>. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the <a href="https://artquill.blogspot.com.au/2012/03/glossary-of-terms-and-fabrics-1-13-art.html">Glossary of Cultural and Architectural Terms</a>, <a href="https://artquill.blogspot.com.au/2014/01/timelines-of-fabrics-dyes-and-other.html">Timelines of Fabrics, Dyes and Other Stuff</a>, <a href="https://artquill.blogspot.com.au/2015/12/a-fashion-data-base-edition-1-art.html">A Fashion Data Base</a>, the <a href="https://artquill.blogspot.com.au/2016/03/glossary-of-colors-dyes-inks-pigments.html">Glossary of Colors, Dyes, Inks, Pigments and Resins</a>, the <a href="https://artquill.blogspot.com.au/2016/07/glossary-of-fabrics-fibers-finishes.html">Glossary of Fabrics, Fibers, Finishes, Garments and Yarns</a>, <a href="https://artquill.blogspot.com.au/2017/05/glossary-of-art-artists-art-motifs-and.html">Glossary of Art, Artists, Art Motifs and Art Movements</a>, <a href="https://artquill.blogspot.com.au/2018/01/glossary-of-paper-photography-printing.html">Glossary of Paper, Photography, Printing, Prints and Publication Terms</a> and the <a href="https://artquill.blogspot.com/2019/01/glossary-of-scientific-terms-version-35.html">Glossary of Scientific Terms</a>. All data bases in the future will be updated from time-to-time.<br />
<br />
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.<br />
<br />
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Pigments for Pastel [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">All the poisonous and sulfur-sensitive pigments, such as Naples yellow, white lead, arsenic cobalt violet, emerald green, etc., are eliminated from the pastel platette.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrNr-Pzi8VmeyXlRhT-5BpIghvY_NsK6kbpS2Wc8Ws2lnIrR4ds2wB04KtdU5mBhgQA1lA2vhrXa_gQdWC3RdUyipNY9Z_SFMM3wNIIqk_ceM03yGLTMinTTdyu3wKVBndyYKF5nVH8CI3sfWauc11Jiz4W7qwM-ne0XGt1QrVgWoJCvhfx1cPXQysNfoc/s1600/1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Pastel Palette" border="0" width="500" data-original-height="900" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrNr-Pzi8VmeyXlRhT-5BpIghvY_NsK6kbpS2Wc8Ws2lnIrR4ds2wB04KtdU5mBhgQA1lA2vhrXa_gQdWC3RdUyipNY9Z_SFMM3wNIIqk_ceM03yGLTMinTTdyu3wKVBndyYKF5nVH8CI3sfWauc11Jiz4W7qwM-ne0XGt1QrVgWoJCvhfx1cPXQysNfoc/s600/1.jpg"/></a></div>
Alice Blue + Lavender Web + Baby Blue Eyes Pastel Color Palettes.<br />
<br />
When making one's own crayons, only the strongest, highest-grade colors should be selected, and in all tests, particular attention should be paid to their brightest appearance in the dry state. The only white necessary, or desirable, is precipitated chalk. French chalk (talc) has been recommended by some writers as an addition to pastel crayons on account of its particularly smooth or soapy texture. If it seems advisable for any reason to use one of the more opaque or heavy whites, no more than a 10% addition of the titanium to the chalk should be used.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilwMf2tIT3Dq3kzdmh6r8wA1iRo-z68Ng2yBA8YF_H6yzN4hACFiYc7rbN9fcKuvzQo0TT6Egwr8QnnBz2xTZVSIlOIrXV9gsLCDpZQrd5iCS3nvP3O3vn2vd3OtZTLX8151q14BliF4KxXuE6jh0JOmoEN-FeXr17nE0FBdnppRmYx4bm5GyoaBfgLPzN/s600/2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="French Chalk" border="0" width="500" data-original-height="600" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilwMf2tIT3Dq3kzdmh6r8wA1iRo-z68Ng2yBA8YF_H6yzN4hACFiYc7rbN9fcKuvzQo0TT6Egwr8QnnBz2xTZVSIlOIrXV9gsLCDpZQrd5iCS3nvP3O3vn2vd3OtZTLX8151q14BliF4KxXuE6jh0JOmoEN-FeXr17nE0FBdnppRmYx4bm5GyoaBfgLPzN/s600/2.jpg"/></a></div>
French Chalk.<br />
<br />
Some pigments which are often rejected for use in other mediums on account of their slight solubility in water, may be used in pastel where this property is of no importance; also some of the colors, which bleed in oil, can be employed if thoroughly light-proof. This makes more of the new synthetic pigment products available. Some of the best grades of Vandyke brown are light-proof and have permanence in pastel in spite of their bad behavior in oil.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZchQOjeQqwHOuCJiTtSXqUbJSz7z4VQ-2KB3B0e7sjaVGZ2DlPlClDmsBRKBi4ufpC3AOEx2THyWfrAEGJVzLAXt0iI-eKfuXmh8xUT50VSWijss1NOOLz2V4GFxjQvhBVpKqnrskQWVdii-D4Xy_IokC2-YYu2QjKdMxFK138GScN3c3ahE31kVxzJWc/s1634/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Vandyke Brown" border="0" width="500" data-original-height="900" data-original-width="1634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZchQOjeQqwHOuCJiTtSXqUbJSz7z4VQ-2KB3B0e7sjaVGZ2DlPlClDmsBRKBi4ufpC3AOEx2THyWfrAEGJVzLAXt0iI-eKfuXmh8xUT50VSWijss1NOOLz2V4GFxjQvhBVpKqnrskQWVdii-D4Xy_IokC2-YYu2QjKdMxFK138GScN3c3ahE31kVxzJWc/s600/3.jpg"/></a></div>
Vandyke Brown.<br />
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Some of the borderline colors have been recommended on the theory that the relative thickness of the pastel coating, and the absence of medium, reduce the likelihood of failure to a minimum, but as in any other technique it is safest to use only the most light-proof pigments.<br />
<br />
With the exception of the poisonous and sulfur-sensitive pigments, all the permanent water color and tempera colors can be used, but, as in gouache, the transparent or glaze pigments will function as body colors. Emerald green, all the lead colors, and arsenic cobalt violet are considered too poisonous, because of the dusting of crayons during use.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3MCIYBcPUFSnr8_20I-mMGnX021Dd4peEZVKIvfnvsqxUO-5eZwp9EAEYFA4xOUeeoCJrEVAHpssB-j8M5BZHOAnhyphenhyphenJPWbUWzOrsq-dj1nUhcWY2-gF93hai1J5ZgBkQLN1uylh3HvmST7QlDdynKyZjlOQvHQz3wh8p9QEi5NFndKHtpd9j4WkuLLWW-/s800/4.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Emerald Green" border="0" width="500" data-original-height="800" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3MCIYBcPUFSnr8_20I-mMGnX021Dd4peEZVKIvfnvsqxUO-5eZwp9EAEYFA4xOUeeoCJrEVAHpssB-j8M5BZHOAnhyphenhyphenJPWbUWzOrsq-dj1nUhcWY2-gF93hai1J5ZgBkQLN1uylh3HvmST7QlDdynKyZjlOQvHQz3wh8p9QEi5NFndKHtpd9j4WkuLLWW-/s600/4.jpg"/></a></div>
Emerald Green.<br />
<br />
One must avoid the continuous inhalation of the dusty powder that is likely to rise during the normal application of pastels to paper, as well as from rubbing or manipulating the crayons. It is well known that no dusty powders (ordinary talc powder for example) should be inhaled. Harmless though their nature may be, the continued breathing into your lungs of any powder is injurious to your health. Pastels are therefore not ideal for individuals who may be sensitive or allergic to such powders.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRtKS5Td5Jxz2PZ_joiU7ys8li_NRY2yN2eYJzeyBiCQF-c2ClocfNLdnQqk1KmxZix4eC-2KxgPmlqFLasC2ZFBkv_sj0e4WtIyTCY8jCK0rHluI-HlN1_cFolfv0pOVx2GKIdzlfJkJaPXAQWoc7eyzV8UmPpKOvIIp851Wyjni8A1Z6_w3rQTbgywrH/s1280/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mask Wearing" border="0" width="500" data-original-height="830" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRtKS5Td5Jxz2PZ_joiU7ys8li_NRY2yN2eYJzeyBiCQF-c2ClocfNLdnQqk1KmxZix4eC-2KxgPmlqFLasC2ZFBkv_sj0e4WtIyTCY8jCK0rHluI-HlN1_cFolfv0pOVx2GKIdzlfJkJaPXAQWoc7eyzV8UmPpKOvIIp851Wyjni8A1Z6_w3rQTbgywrH/s600/5.jpg"/></a></div>
Artist Barbara Rachkos wearing a mask while creating a work of art using pastels on paper.</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-55072815003142504392024-02-24T07:00:00.007+11:002024-03-16T13:20:40.815+11:00ATASDA’s ‘A Touch of Gold’ 50th Anniversary ExhibitionPart IIMENA (Collaborative Golden Cape project)ArtClothMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">My artwork has appeared in a number of exhibitions which has been featured on this blog spot. For your convenience I have listed these posts below.<br />
<a href="https://artquill.blogspot.com.au/2010/08/artcloth-engaging-new-visions.html">ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)</a><br />
<a href="https://artquill.blogspot.com.au/2010/09/sequestration-of-co2-exhibition.html">Sequestration of CO<sub>2</sub> (Engaging New Visions) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/04/codes-lost-voices-semiotic-artcloth.html">Codes – Lost Voices (ArtCloth Installation) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/05/unleashed-rise-of-australian-street-art.html">Unleashed: The Rise of Australian Street Art (Art Exhibition) Various Artists</a><br />
<a href="https://artquill.blogspot.com.au/2011/06/merge-and-flow-disperse-dye-artcloth.html">Merge and Flow (SDA Members Exhibition) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/07/journey-marie-therese-wisniowski-fine.html">The Journey (Megalo Studio) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/10/another-brick-post-graffiti-artcloth.html">Another Brick (Post Graffiti ArtCloth Installation) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/10/artcloth-swap-and-exhibition-artcloth.html">ArtCloth Swap & Exhibition</a><br />
<a href="https://artquill.blogspot.com/2016/11/my-eleven-year-contribution-to-9-x-5.html">My Fifteen Year Contribution to the '9 x 5' Exhibition</a><br />
<a href="https://artquill.blogspot.com.au/2012/07/when-rainforests-ruled-artcloth.html">When Rainforests Ruled (Purple Noon Art & Sculpture Gallery) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2013/09/when-rainforests-glowed-prehistory-of.html">When Rainforests Glowed (Eden Gardens Gallery) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2015/11/my-southern-land-artcloth-exhibition.html">My Southern Land (Galerie 't Haentje te Paart, Netherlands) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2016/01/the-last-exhibition-galerie-t-haentje.html">The Last Exhibition @ Galerie ’t Haentje the Paart</a><br />
<a href="https://artquill.blogspot.com.au/2016/05/mark-making-on-urban-walls-post.html">Mark Making on Urban Walls @ Palm House (Post Graffiti Art Work)</a><br />
<a href="https://artquill.blogspot.com.au/2016/10/fleeting-artcloth-sea-scrolls.html">Fleeting - My ArtCloth Work Exhibited @ Art Systems Wickham Art Gallery</a><br />
<a href="https://artquill.blogspot.com/2018/11/timelines-environmental-journey.html">Timelines: An Environmental Journey</a><br />
<a href="https://artquill.blogspot.com/2020/01/my-contribution-to-lake-macquaries.html">My Contribution to Lake Macquarie's Water Exhibition</a><br />
<a href="https://artquill.blogspot.com/2021/09/the-effects-of-global-warming-artcloth.html">The Effects of Global Warming - ArtCloth Exhibition@Rathmines Heritage Centre’s Boiler Room</a><br />
<a href="https://artquill.blogspot.com/2024/02/atasdas-touch-of-gold-50th-anniversary.html">ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part I</a><br />
<a href="https://artquill.blogspot.com/2024/02/atasdas-touch-of-gold-50th-anniversary_01632897123.html">ATASDA’s ‘A Touch of Gold’ 50th Anniversary Exhibition - Part II</a><br />
<a href="https://artquill.blogspot.com/2024/03/atasdas-touch-of-gold-50th-anniversary.html">ATASDA's 'A Touch of Gold’ 50th Anniversary Exhibition - Part III</a></span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Celebrating the 50th anniversary of the Australian Textile Arts & Surface Design
Association (ATASDA), the exhibition, ‘A Touch of Gold’, explores artist's concepts of the theme. In tandem with the ‘A Touch of Gold’ exhibition, other projects have been initiated to celebrate the organization’s extraordinary 50-year contribution to the field of textile arts and surface design.</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>The Collaborative Golden Cape project.<br />
One garment representing 50 years of creativity in textile arts.</b><br />
<span style="font-family: Helvetica; font-size: 10pt;">Members of ATASDA have joined together to create a beautiful cape comprising of 50 art panels inspired by 50 past ATASDA members artworks. Each contribution to the Cape is a personal response to its corresponding historic artwork and its story. The Golden Cape, embellished with these beautiful cameos of textile art and surface design, will travel and be displayed throughout Australia.<br />
<br />
Criteria for each artwork panel specified that the orientation of the work had to be in landscape format with the exact finished size being 20 cm wide x 16 cm high. Any textile medium and technique could be used noting that the edges were not to fray. The 50 completed artwork pieces that were being sewn into the cape had to be lightweight and flexible to ensure that the finished cape could be rolled up to travel throughout Australia.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>My Contribution - MENA</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">My contribution to the Collaborative Golden Cape project is titled, ‘MENA’, and
was based on ATASDA member Barbara McLennan’s historic textile artwork titled, ‘Morocco’’ whereby I employed some of her colour elements as an influence for my ArtCloth work.<br />
<br />
Barbara McLennan’s archival historic artwork brought back to me many wonderful memories of my numerous trips to the Middle East. In particular, the richness of the cultures, the artworks, the architecture, the colours and scents, as well as the meticulous detail to handmade crafted objects - just highlights some of my lasting memories!<br />
<br />
The diversity of religion forced to coexist side-by-side, not always in harmony but always reflecting a richness of life that is emphasized by the colors used in their artefacts and clothing designs.<br />
<br />
My Middle East experiences as well as my personal photo portfolio, and colour elements from Barbara’s artwork informed my ArtCloth piece titled, ‘MENA.’ The base layer employs Middle Eastern quatrefoil designs in deconstructed deep red/brown hues. A second layer, employs detailed ceramic tile patterning in various shades of blue. The mid-field employs complex geometric designs used in Middle Eastern crafts, architecture and jewellery designs that mostly employ metallic gold - signifying wealth in colour as well as monetary value. Small scale floating quatrefoil designs are repeated on the surface layer in rich red and yellow hues, adding movement and visual depth to the underlying design aesthetic, as well as principles employed in the creation of Middle Eastern decorative art.</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Exhibition Dates and Venue</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">(i) Incinerator Art Space, Willoughby, Sydney, NSW 17th April to 5th May 2024.(ATASDA gratefully acknowledges Willoughby City Council for the provision of Incinerator Art Space); (ii) Whitehorse Artspace Gallery, Box Hill, Victoria 30th November to 21st December 2024.</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>My Contribution to ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part II<br />MENA (Collaborative Golden Cape project)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghR1qXRpECCX79m65a_rpMNEv6TkUXEvNuW1gKOAFmv8Lx0ieL9sZrRI77Axv4dYZaZhZKi6W9lGfnDc6WdhwowuroXYn47RuEcAmtTM9gkqv5gD_KZyDehj8WisllWEdp2Vlwkhlko7oVlukn9809XRba_BmIV2kdCov_oPTSx-fJ-ebyuUh5r3V8xHc2/s708/A.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="MENA" border="0" height="600" data-original-height="708" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghR1qXRpECCX79m65a_rpMNEv6TkUXEvNuW1gKOAFmv8Lx0ieL9sZrRI77Axv4dYZaZhZKi6W9lGfnDc6WdhwowuroXYn47RuEcAmtTM9gkqv5gD_KZyDehj8WisllWEdp2Vlwkhlko7oVlukn9809XRba_BmIV2kdCov_oPTSx-fJ-ebyuUh5r3V8xHc2/s600/A.jpeg"/></a></div>
<span style="font-family: Helvetica; font-size: 10pt;"><b>Title:</b> MENA.<br />
<b>Technique and Media:</b> The artists signature MultiSperse Dye Sublimation (MSDS) technique, stencilled and hand painted employing disperse dyes, opaque and metallic pigment on synthetic satin bonded onto cotton substrate.<br />
<b>Size:</b> 20 cm wide x 16 cm high.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg33qYKxHAMH5t9S9gpdmN1pwHN7E4Y33YuuIxFUF8R9kPBQroCVG9wh2savQ22csZbEYL0-zSRsWCx4Phi7Vj-QKbnG6hPuT4bA2qiIaFG9_p6u9tEt8zef1bqYj0wfVE436iURIVyKej3uc5twKj4Kb3S_d90Ny-La3Aipvt3INda42W7O3kTfZ2irI_v/s1284/B.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mena - Detailed View 1" border="0" height="600" data-original-height="1284" data-original-width="1020" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg33qYKxHAMH5t9S9gpdmN1pwHN7E4Y33YuuIxFUF8R9kPBQroCVG9wh2savQ22csZbEYL0-zSRsWCx4Phi7Vj-QKbnG6hPuT4bA2qiIaFG9_p6u9tEt8zef1bqYj0wfVE436iURIVyKej3uc5twKj4Kb3S_d90Ny-La3Aipvt3INda42W7O3kTfZ2irI_v/s600/B.jpeg"/></a></div>
<b>Title:</b> MENA (Detailed View 1).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdrUJ1XusyQpYsVoC8MuHBmJOLjIMAuQGvz-Hy7BUCNwt3sNAt9hob9MFlsUd0GZ63zZiTisHHx_LSJavqzBrmMoDcM860kfIxZbUMv4GmmEvKJmtntFRNlJBZ459GHeFJCxESCSfQeV1YvJxIUsV8H5v5t-jBilkFLH1Uh88ahzW63xtv-7u0rwfbiAEy/s941/C.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mena - Detailed View 2" border="0" height="600" data-original-height="941" data-original-width="567" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdrUJ1XusyQpYsVoC8MuHBmJOLjIMAuQGvz-Hy7BUCNwt3sNAt9hob9MFlsUd0GZ63zZiTisHHx_LSJavqzBrmMoDcM860kfIxZbUMv4GmmEvKJmtntFRNlJBZ459GHeFJCxESCSfQeV1YvJxIUsV8H5v5t-jBilkFLH1Uh88ahzW63xtv-7u0rwfbiAEy/s600/C.jpeg"/></a></div>
<b>Title:</b> MENA (Detailed View 2).</span>
</div>
</div> Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-15699729443113499042024-02-17T07:00:00.074+11:002024-02-17T08:41:52.140+11:00Navajo Rugs of the Western Reservation [1]Art EssayMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">For your convenience, I have listed below posts that also focus on rugs.<br />
<a href="https://artquill.blogspot.com/2013/10/navajo-rugs-1-art-essay-marie-wisniowski.html">Navajo Rugs</a><br />
<a href="https://artquill.blogspot.com.au/2014/05/persian-rugs-1-2-art-essay-marie.html">Persian Rugs</a><br />
<a href="https://artquill.blogspot.com.au/2014/10/caucasian-rugs-1-art-essay-marie.html">Caucasian Rugs</a><br />
<a href="https://artquill.blogspot.com.au/2015/04/turkish-rugs-1-2-art-essay-marie.html">Turkish Rugs</a><br />
<a href="https://artquill.blogspot.com/2023/06/navajo-rugs-of-ganado-crystal-and-two.html">Navajo Rugs of the Ganado, Crystal and Two Grey Hills Region</a><br />
<a href="https://artquill.blogspot.com/2023/07/navajo-rugs-of-chinle-wide-ruins-and.html">Navajo Rugs of Chinle, Wide Ruins and Teec Nos Pos Regions</a><br />
<a href="https://artquill.blogspot.com/2024/02/navajo-rugs-of-western-reservation-1.html">Navajo Rugs of the Western Reservation</a></span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Navajo Rugs of the Western Reservation [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">The region of weaving on the west side of Navajoland is as large as some Eastern States in the USA. The region is roughly one hundred and twenty by fifty miles, from Coppermine on the west to Chilchinbito on the east, from Kaibito on the north to Tuba City on the south. Other weaving centers in this region are Shanto, Inscription House, Kerley's Trading Post, Camerson, The Gap, Paiute Mesa, Navajo Mountain and Cedar Ridge. For these far-flung communities Tuba City functions as something of a satellite capital.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8GXpI_94F0wFMnp8_WebwSmYdRhF-utZQuNjvMoeSn8l7wkedE4V04Z0nsHXvQGtZ5bmKXIVMdaA0GVJ7C4-UzJw05jkJjUoRqv6KFg3PSt4hCzWfinfv9wmi1p1uYEce_8hugdB9hLjrZmucEN1dla7Ai0dajpa165raWxFFQFZCGEwgZbQBFfa9gQ/s225/1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Tuba City" border="0" width="500" data-original-height="225" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8GXpI_94F0wFMnp8_WebwSmYdRhF-utZQuNjvMoeSn8l7wkedE4V04Z0nsHXvQGtZ5bmKXIVMdaA0GVJ7C4-UzJw05jkJjUoRqv6KFg3PSt4hCzWfinfv9wmi1p1uYEce_8hugdB9hLjrZmucEN1dla7Ai0dajpa165raWxFFQFZCGEwgZbQBFfa9gQ/s600/1.jpg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp84-lQL2VwSO2_bVg8rQ2_3qUuKY-f4xJCHs-ZifIkqF62RR8MRFaL6wY3tLZPYkWiKyXWnucn5FDK-e7dRvUdrjUv95ZEtKGeLCP8GbS4W-8KeBYMCx1qIO9wxf5hGJY1uBabZLZIiFmXnoXjigFI9iEKWAQWVR90J7mX_AvZ9VIINqAzGanLIGC5w/s428/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Ella Yazzi Bia of White Clay" border="0" width="500" data-original-height="287" data-original-width="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp84-lQL2VwSO2_bVg8rQ2_3qUuKY-f4xJCHs-ZifIkqF62RR8MRFaL6wY3tLZPYkWiKyXWnucn5FDK-e7dRvUdrjUv95ZEtKGeLCP8GbS4W-8KeBYMCx1qIO9wxf5hGJY1uBabZLZIiFmXnoXjigFI9iEKWAQWVR90J7mX_AvZ9VIINqAzGanLIGC5w/s600/2.jpeg"/></a></div>
<b>Maker:</b> Ella Yazzi Bia.<br />
<b>Comment[1]:</b> Ella Yazzi Bia of White Clay, Arizona, was commissioned to copy a design in Read Mullan's catalog. In six months the job was done but with tiny differences in design.<br />
<b>Size:</b> 39 x 63 inches.<br />
<b>Courtesy:</b> Tom E. Kirk Collection.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZpwZvsQd6WQ6Zibja7FMHiMqoXp-5Wl17SDYbH3FKL5DmivDSAf1OFX-kO9O48JXKeHp3PpvJ16HnmJR-ecDWBmk0y97fgOIUxLVaK_7zHNFIjAv5KXGbcjkQscXwZ2ZQ12m3VU3dVIlgXqsxcCvAbTfcL5jhdxg84Zs0hwZEEy7tWP4y3sLFJ5RUjw/s363/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Genesis of storm pattern elements" border="0" width="500" data-original-height="245" data-original-width="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZpwZvsQd6WQ6Zibja7FMHiMqoXp-5Wl17SDYbH3FKL5DmivDSAf1OFX-kO9O48JXKeHp3PpvJ16HnmJR-ecDWBmk0y97fgOIUxLVaK_7zHNFIjAv5KXGbcjkQscXwZ2ZQ12m3VU3dVIlgXqsxcCvAbTfcL5jhdxg84Zs0hwZEEy7tWP4y3sLFJ5RUjw/s600/3.jpeg"/></a></div>
<b>Maker:</b> Unknown.<br />
<b>Comment[1]:</b> Genesis of storm pattern elements are shown in this early example (circa 1910.)<br />
<b>Size:</b> 46 x 60 inches.<br />
<b>Courtesy:</b> Museum of Northern Arizona.<br />
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Three weavers of note in this region are Mabel Bighorse, Marie Sheppard and Mary Wison Begay.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDhKHOiHwAPXQOYSMe3Ug1fHeYHPDsaIZrL8gCnBcjKje2BoFntNet0LuRU24OJaqSZrZJ5HrQ04qreDT7pTZ9XNyHxFVaqyZO_Ty4NgP2_O-LKvdmIiB5B_tAs6Rz9oFPvoi7vPmUR0yCXtHEZOLFz1qMpc55y1GiDQh6s4cOhLzHszeBq6dOULUhzQ/s802/4.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Rug by Mabel Bighorse" border="0" width="500" data-original-height="560" data-original-width="802" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDhKHOiHwAPXQOYSMe3Ug1fHeYHPDsaIZrL8gCnBcjKje2BoFntNet0LuRU24OJaqSZrZJ5HrQ04qreDT7pTZ9XNyHxFVaqyZO_Ty4NgP2_O-LKvdmIiB5B_tAs6Rz9oFPvoi7vPmUR0yCXtHEZOLFz1qMpc55y1GiDQh6s4cOhLzHszeBq6dOULUhzQ/s600/4.jpg"/></a></div>
<b>Maker:</b> Mabel Bighorse.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZDTCnc-Fu_Xz-nc0xaiEV9eoB4RvUWGudJifx6UvH4bxuvXsRkBReXQf6BFMvvuV3JbMrCHucpyQ0fhZi42Daz1sG3InD8O0kPdT6JFv6tBNKUowoyx1Z7RllXTEEG5-5vmOWtqOVVZ_yIsw8fAmovDqr52dVoD3KbpN8A2i1dc7UTgKAlTiimpU0BA/s998/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Rug by Marie Sheppard" border="0" width="500" data-original-height="752" data-original-width="998" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZDTCnc-Fu_Xz-nc0xaiEV9eoB4RvUWGudJifx6UvH4bxuvXsRkBReXQf6BFMvvuV3JbMrCHucpyQ0fhZi42Daz1sG3InD8O0kPdT6JFv6tBNKUowoyx1Z7RllXTEEG5-5vmOWtqOVVZ_yIsw8fAmovDqr52dVoD3KbpN8A2i1dc7UTgKAlTiimpU0BA/s600/5.jpg"/></a></div>
<b>Maker:</b> Marie Sheppard.<br />
Note: No specifics about her work were given by reference [1].<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0FqLB9jM-3Ci0Y6CpmygaHviRwW3a0Wj5Y1e2XRwOFc3YKfaUWTjHTflJFAAT94xv20Q6YyQHTrgIR2GGfLiYek3MkaxHi-n1A9fktzfP6hDob2YwznvRs3Q4PzC3QMW0LwbMGZmAITTVWw9Zk_Kshby9N-SxuAuX1pnIS-P89eH3ijZX6h2y98EW1Q/s575/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Rug by Mary Begay" border="0" height="600" data-original-height="575" data-original-width="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0FqLB9jM-3Ci0Y6CpmygaHviRwW3a0Wj5Y1e2XRwOFc3YKfaUWTjHTflJFAAT94xv20Q6YyQHTrgIR2GGfLiYek3MkaxHi-n1A9fktzfP6hDob2YwznvRs3Q4PzC3QMW0LwbMGZmAITTVWw9Zk_Kshby9N-SxuAuX1pnIS-P89eH3ijZX6h2y98EW1Q/s600/6.jpeg"/></a></div>
<b>Maker:</b> Mary Begay.<br />
<b>Comment [1]:</b> Seemingly in action is this vibrant raised-outline, Mary Begay weave of double-saddle proportions.<br />
<b>Size:</b> 30 x 60 inches.<br />
<b>Courtesy:</b> Read Mullan Collection.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVzZzd7F5nvm5NKJ7wLjNAXDx5RNLikGFo4TprXqBOJzGKqy-Fni3rRs0DbDAkzkvOCIVJe3zZLtWrZgljiI5CUj6aq1uxLQzAAxVSz9EFg4zBKNcx7DIrZSbjdqr5cotR9DqFxIq3VHEpd9vpTQtX7OcFrxcSl2s-QT_pIr8j9tTOAWhBwEv9SZCluA/s540/7.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Bird Pictorial, Mary Begay" border="0" width="500" data-original-height="540" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVzZzd7F5nvm5NKJ7wLjNAXDx5RNLikGFo4TprXqBOJzGKqy-Fni3rRs0DbDAkzkvOCIVJe3zZLtWrZgljiI5CUj6aq1uxLQzAAxVSz9EFg4zBKNcx7DIrZSbjdqr5cotR9DqFxIq3VHEpd9vpTQtX7OcFrxcSl2s-QT_pIr8j9tTOAWhBwEv9SZCluA/s600/7.jpg"/></a></div>
<b>Maker:</b> Mary Begay.<br />
<b>Title:</b> Bird Pictorial.<br />
Note: No specifics about her work were given by reference [1].<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpUVbzfAHgZ0FaSELE1YGcOuO9IL-QX1-GGDBn5gxsYlLqnmFdw08Cl1SgrmY6OJ5BGfD-qdkY4NS2OXeSF2t5DqXZiCgSSWjP9DgYiyfXUSbJ0NQUhn2Dt1pAvqM7lmZ4vRQGMEVpycAcewCqADwSVTtumIRNWuXeazq09-Bbi_-AgcJJLq7YNGicLg/s540/8.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Two Grey Hills, Mary Begay" border="0" width="500" data-original-height="540" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpUVbzfAHgZ0FaSELE1YGcOuO9IL-QX1-GGDBn5gxsYlLqnmFdw08Cl1SgrmY6OJ5BGfD-qdkY4NS2OXeSF2t5DqXZiCgSSWjP9DgYiyfXUSbJ0NQUhn2Dt1pAvqM7lmZ4vRQGMEVpycAcewCqADwSVTtumIRNWuXeazq09-Bbi_-AgcJJLq7YNGicLg/s600/8.jpg"/></a></div>
<b>Maker:</b> Mary Begay.<br />
<b>Title:</b> Two Grey Hills.<br />
Note: No specifics about her work were given by reference [1].</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] D. Dedera, Navajo Rugs, Northland Publishing, Flagstaff, Arizona (1990).</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-86260649210022704212024-02-10T07:00:00.171+11:002024-03-16T13:20:04.468+11:00ATASDA's ‘A Touch of Gold’ 50th Anniversary ExhibitionPart IAmaranthine (Batik Block Challenge)ArtClothMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">My artwork has appeared in a number of exhibitions which has been featured on this blog spot. For your convenience I have listed these posts below.<br />
<a href="https://artquill.blogspot.com.au/2010/08/artcloth-engaging-new-visions.html">ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)</a><br />
<a href="https://artquill.blogspot.com.au/2010/09/sequestration-of-co2-exhibition.html">Sequestration of CO<sub>2</sub> (Engaging New Visions) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/04/codes-lost-voices-semiotic-artcloth.html">Codes – Lost Voices (ArtCloth Installation) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/05/unleashed-rise-of-australian-street-art.html">Unleashed: The Rise of Australian Street Art (Art Exhibition) Various Artists</a><br />
<a href="https://artquill.blogspot.com.au/2011/06/merge-and-flow-disperse-dye-artcloth.html">Merge and Flow (SDA Members Exhibition) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/07/journey-marie-therese-wisniowski-fine.html">The Journey (Megalo Studio) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/10/another-brick-post-graffiti-artcloth.html">Another Brick (Post Graffiti ArtCloth Installation) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2011/10/artcloth-swap-and-exhibition-artcloth.html">ArtCloth Swap & Exhibition</a><br />
<a href="https://artquill.blogspot.com/2016/11/my-eleven-year-contribution-to-9-x-5.html">My Fifteen Year Contribution to the '9 x 5' Exhibition</a><br />
<a href="https://artquill.blogspot.com.au/2012/07/when-rainforests-ruled-artcloth.html">When Rainforests Ruled (Purple Noon Art & Sculpture Gallery) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2013/09/when-rainforests-glowed-prehistory-of.html">When Rainforests Glowed (Eden Gardens Gallery) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2015/11/my-southern-land-artcloth-exhibition.html">My Southern Land (Galerie 't Haentje te Paart, Netherlands) M-T. Wisniowski</a><br />
<a href="https://artquill.blogspot.com.au/2016/01/the-last-exhibition-galerie-t-haentje.html">The Last Exhibition @ Galerie ’t Haentje the Paart</a><br />
<a href="https://artquill.blogspot.com.au/2016/05/mark-making-on-urban-walls-post.html">Mark Making on Urban Walls @ Palm House (Post Graffiti Art Work)</a><br />
<a href="https://artquill.blogspot.com.au/2016/10/fleeting-artcloth-sea-scrolls.html">Fleeting - My ArtCloth Work Exhibited @ Art Systems Wickham Art Gallery</a><br />
<a href="https://artquill.blogspot.com/2018/11/timelines-environmental-journey.html">Timelines: An Environmental Journey</a><br />
<a href="https://artquill.blogspot.com/2020/01/my-contribution-to-lake-macquaries.html">My Contribution to Lake Macquarie's Water Exhibition</a><br />
<a href="https://artquill.blogspot.com/2021/09/the-effects-of-global-warming-artcloth.html">The Effects of Global Warming - ArtCloth Exhibition@Rathmines Heritage Centre’s Boiler Room</a><br />
<a href="https://artquill.blogspot.com/2024/02/atasdas-touch-of-gold-50th-anniversary.html">ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part I</a><br />
<a href="https://artquill.blogspot.com/2024/02/atasdas-touch-of-gold-50th-anniversary_01632897123.html">ATASDA’s ‘A Touch of Gold’ 50th Anniversary Exhibition - Part II</a><br />
<a href="https://artquill.blogspot.com/2024/03/atasdas-touch-of-gold-50th-anniversary.html">ATASDA's 'A Touch of Gold’ 50th Anniversary Exhibition - Part III</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Celebrating the 50th anniversary of the Australian Textile Arts & Surface Design Association (ATASDA), the exhibition, 'A Touch of Gold,' explores artist's concepts of the theme. In tandem with the 'A Touch of Gold' exhibition, other projects have been initiated to celebrate the organization's extraordinary 50-year contribution to the field of textile arts and surface design.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Background Information</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">ATASDA started out as the Batik Association in 1974. As part of the celebration, current New South Wales members of ATASDA received a 22 x 22 cm piece of fabric which was initially stamped with wax as a resist and hand dyed for a 'Batik Block Challenge' project in recognition of its early history.<br />
<br />
Each member could choose a motif or imagery that represented them as a member of ATASDA. Techniques could include the artist's chosen textile art practice such as - appliqué, embroidery, contemporary stitching, painting, printmaking, collage, knitting, crochet etc.<br />
<br />
The completed fabric blocks will be assembled together as a wall hanging celebrating present-day members of ATASDA, NSW, and when the organization began as the Batik Association.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Amaranthine (Batik Block Challenge)</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">My contribution to the 'Batik Block Challenge Wall Hanging' project was based on imagery employing printmaking techniques and was titled, 'Amaranthine.' Color choices included the amaranthine color palette and the exhibition theme color of gold. Interestingly, 'Amaranthine' is described as being an imaginary flower that never fades. My passion for the natural world culminates in this printed ArtCloth work with my hand drawn and hand printed botanical and cascading floral imagery encompassing my aesthetic for multi-layered, and multi-hued visual elements that is the basis of my storytelling.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Exhibition Dates and Venues</b><br />
<span style="font-family: Helvetica; font-size: 10pt;">(i) Incinerator Art Space, Willoughby, Sydney, NSW 17th April to 5th May 2024. (ATASDA gratefully acknowledges Willoughby City Council for the provision of Incinerator Art Space);<br />
(ii) Whitehorse Artspace Gallery, Box Hill, Victoria, from 30th November to 21th December 2024.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>My Contribution to ATASDA's ‘A Touch of Gold’ 50th Anniversary Exhibition - Part I<br />Amaranthine (Batik Block Challenge)</b></span><br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Ys-wSbi86NlBS6LNfxiLyEAvYNf6rsPlcR7vcFAQILLXcYOpLHh36LJmNjI4sGYnzPMOCOuGrQP64k-fAVrAyNLwZYpf5tGLPTjlubkZrl50cqkSVXWsQ3hGXwAwH1Rj7EYnrLBVjtqlVz8sArshSdCsaV2JprPePlCPoA61ISicyd3ZptKb3shOjdLg/s647/A.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Amaranthine (Full View)" border="0" height="600" data-original-height="647" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Ys-wSbi86NlBS6LNfxiLyEAvYNf6rsPlcR7vcFAQILLXcYOpLHh36LJmNjI4sGYnzPMOCOuGrQP64k-fAVrAyNLwZYpf5tGLPTjlubkZrl50cqkSVXWsQ3hGXwAwH1Rj7EYnrLBVjtqlVz8sArshSdCsaV2JprPePlCPoA61ISicyd3ZptKb3shOjdLg/s600/A.jpeg"/></a></div>
<b>Image:</b> Amaranthine (Full View).<br />
<b>Technique and Media:</b> Screenprinted - employing transparent, opaque and metallic pigments on supplied Batik block fabric.<br />
<b>Size:</b> 22 x 22 cm.<br />
<br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigydo0o3a7hDxyapTakTdEaC6f4pTAuBRBi-lxWyL5gE_f-OL5dkOvIwb5bP5WSVHqTH1qj50_E367CL3xZAQ9ybgdJsWoK-036ColnGXT6gHoBMsiO4CDLadQfupAeZxyTeB6uFKO_MslAEEbBJ3y4Jxy6JIdqI3-5t-6nTxS3UZcoXl041kHdIKVxAsQ/s830/B.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Amaranthine (Detailed View 1)" border="0" height="600" data-original-height="830" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigydo0o3a7hDxyapTakTdEaC6f4pTAuBRBi-lxWyL5gE_f-OL5dkOvIwb5bP5WSVHqTH1qj50_E367CL3xZAQ9ybgdJsWoK-036ColnGXT6gHoBMsiO4CDLadQfupAeZxyTeB6uFKO_MslAEEbBJ3y4Jxy6JIdqI3-5t-6nTxS3UZcoXl041kHdIKVxAsQ/s600/B.jpeg"/></a></div>
<b>Image:</b> Amaranthine (Detailed View 1).<br />
<br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyauhbdyXDCqMfanxmo2Yn7ZC0SYMHp_7iRkMbXUt0jk8ZqhB3Yys4nhilLFjJdKiSKf0Y9Y7d7vhelG1dDYyGP4pg0KqKhfbQnIYeYCm07F9fRohFo1SCTEYZVrwJtaGywpoKsOUMD85vnJQf2E61kGVix6NHjJM20tR4vvmTEJ8K0T1mbzOEjVxeunba/s833/C.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Amaranthine (Detailed View 2)" border="0" height="600" data-original-height="833" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyauhbdyXDCqMfanxmo2Yn7ZC0SYMHp_7iRkMbXUt0jk8ZqhB3Yys4nhilLFjJdKiSKf0Y9Y7d7vhelG1dDYyGP4pg0KqKhfbQnIYeYCm07F9fRohFo1SCTEYZVrwJtaGywpoKsOUMD85vnJQf2E61kGVix6NHjJM20tR4vvmTEJ8K0T1mbzOEjVxeunba/s600/C.jpeg"/></a></div>
<b>Image:</b> Amaranthine (Detailed View 2).</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-8499683540837336992024-02-03T07:00:00.075+11:002024-03-04T11:15:10.466+11:00Pigments for Tempera PaintingArt ResourceMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">This is the thirtieth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:<br />
<a href="https://artquill.blogspot.com/2021/08/drawing-art-resource-marie-therese.html">Drawing Art</a><br />
<a href="https://artquill.blogspot.com/2021/09/painting-part-i-art-resource-marie.html">Painting Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2021/10/painting-part-ii-art-resource-marie.html">Painting Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2021/11/painting-part-iii1-art-resource-marie.html">Painting Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2021/12/painting-part-iv-art-resource-marie.html">Painting Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/painting-art-part-v-1-art-resource.html">Painting Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/02/painting-art-part-vi-1-art-resource.html">Painting Art - Part VI</a><br />
<a href="https://artquill.blogspot.com/2022/03/home-made-painting-art-materials-art.html">Home-Made Painting Art Materials</a><br />
<a href="https://artquill.blogspot.com/2022/04/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/05/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/06/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/07/historical-notes-on-art-part-i-1-art.html">Historical Notes on Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/08/historical-notes-on-art-part-ii-1-art.html">Historical Notes on Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/09/historical-notes-on-art-part-iii-1-art.html">Historical Notes on Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/10/historical-notes-on-art-part-iv-1-art.html">Historical Notes on Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/historical-notes-on-art-part-v-1-art.html">Historical Notes on Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/12/tempera-painting-1-art-resource-marie.html">Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2023/02/oil-painting-part-i-1-art-resource.html">Oil Painting - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/01/oil-painting-part-ii-1-art-resource.html">Oil Painting - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/04/oil-painting-part-iii-1-art-resource.html">Oil Painting - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/05/oil-painting-part-iv-art-resource-marie.html">Oil Painting - Part IV</a><br />
<a href="https://artquill.blogspot.com/2023/06/oil-painting-part-v-1-art-resource.html">Oil Painting - Part V</a><br />
<a href="https://artquill.blogspot.com/2023/07/oil-painting-part-vi-1-art-resource.html">Oil Painting - Part VI</a><br />
<a href="https://artquill.blogspot.com/2023/08/pigments-1-art-resource-marie-therese.html">Pigments</a><br />
<a href="https://artquill.blogspot.com/2023/09/classification-of-pigments-part-i-1-art.html">Classification of Pigments - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/10/classification-of-pigments-part-ii-1.html">Classification of Pigments - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/11/classification-of-pigments-part-iii-1.html">Classification of Pigments - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/12/pigments-for-oil-painting-1-art.html">Pigments for Oil Painting</a><br />
<a href="https://artquill.blogspot.com/2024/01/pigments-for-water-color-1-art-resource.html">Pigments for Water Color</a><br />
<a href="https://artquill.blogspot.com/2024/02/pigments-for-tempera-painting-art.html">Pigments for Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2024/03/pigments-for-pastel-1-art-resource.html">Pigments for Pastel</a><br />
<br />
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:<br />
(i) Units used in dyeing and printing of fabrics;<br />
(ii) Occupational, health & safety issues in an art studio;<br />
(iii) Color theories and color schemes;<br />
(iv) Optical properties of fiber materials;<br />
(v) General properties of fiber polymers and fibers - Part I to Part V;<br />
(vi) Protein fibers;<br />
(vii) Natural and man-made cellulosic fibers;<br />
(viii) Fiber blends and melt spun fibers;<br />
(ix) Fabric construction;<br />
(x) Techniques and woven fibers;<br />
(xi) Basic and figured weaves;<br />
(xii) Pile, woven and knot pile fabrics;<br />
(xiii) Durable press and wash-and-wear finishes;<br />
(xvi) Classification of dyes and dye blends;<br />
(xv) The general theory of printing.<br />
<br />
To access any of the above resources, please click on the following link - <a href="https://artquill.blogspot.com.au/2012/04/units-used-in-dyeing-and-printing-of.html">Units Used in Dyeing and Printing of Fabrics</a>. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the <a href="https://artquill.blogspot.com.au/2012/03/glossary-of-terms-and-fabrics-1-13-art.html">Glossary of Cultural and Architectural Terms</a>, <a href="https://artquill.blogspot.com.au/2014/01/timelines-of-fabrics-dyes-and-other.html">Timelines of Fabrics, Dyes and Other Stuff</a>, <a href="https://artquill.blogspot.com.au/2015/12/a-fashion-data-base-edition-1-art.html">A Fashion Data Base</a>, the <a href="https://artquill.blogspot.com.au/2016/03/glossary-of-colors-dyes-inks-pigments.html">Glossary of Colors, Dyes, Inks, Pigments and Resins</a>, the <a href="https://artquill.blogspot.com.au/2016/07/glossary-of-fabrics-fibers-finishes.html">Glossary of Fabrics, Fibers, Finishes, Garments and Yarns</a>, <a href="https://artquill.blogspot.com.au/2017/05/glossary-of-art-artists-art-motifs-and.html">Glossary of Art, Artists, Art Motifs and Art Movements</a>, <a href="https://artquill.blogspot.com.au/2018/01/glossary-of-paper-photography-printing.html">Glossary of Paper, Photography, Printing, Prints and Publication Terms</a> and the <a href="https://artquill.blogspot.com/2019/01/glossary-of-scientific-terms-version-35.html">Glossary of Scientific Terms</a>. All data bases in the future will be updated from time-to-time.<br />
<br />
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.<br />
<br />
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Tempera painting, is painting executed with pigment ground in a water-miscible medium. The word 'tempera' originally came from the verb 'temper'; that is, to bring to a desired consistency. Dry pigments are made usable by 'tempering' them with a binding and adhesive vehicle. Such painting was distinguished from fresco painting, as the colors contained no binder. Eventually, after the rise of oil painting, the word gained its present meaning.<br />
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Tempera is an ancient medium, having been in constant use in most of the world’s cultures until it was gradually superseded by oil paints in Europe, during the Renaissance. Tempera was the original mural medium in the ancient dynasties of Egypt, Babylonia, Mycenaean Greece, and China and was used to decorate the early Christian catacombs. It was employed on a variety of supports, from the stone stelae (or commemorative pillars), mummy cases, and papyrus rolls of ancient Egypt to the wood panels of Byzantine icons and altarpieces and the vellum leaves of medieval illuminated manuscripts.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISq7QeYW_bXMWxvBVF9c_orpRMLDl6bnjG2y1kFe6CyGLJOd9IX3ToUFdynX9BYX-JN3c6TuqYQKexwXSrVSwGpcesRU91wsfzci0_eDFOvkbxNm1IJpz5pB6UIELyliMs70Xf6JApIG5rKaP-ccyzjYo8XYmITyBiRKezIcIn6dWpIYhP4kWlECZDMjv/s900/1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Lot and his daughters" border="0" width="500" data-original-height="621" data-original-width="900" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISq7QeYW_bXMWxvBVF9c_orpRMLDl6bnjG2y1kFe6CyGLJOd9IX3ToUFdynX9BYX-JN3c6TuqYQKexwXSrVSwGpcesRU91wsfzci0_eDFOvkbxNm1IJpz5pB6UIELyliMs70Xf6JApIG5rKaP-ccyzjYo8XYmITyBiRKezIcIn6dWpIYhP4kWlECZDMjv/s600/1.jpg"/></a></div>
<b>Artist and Title:</b> William Blake (1757–1827). Lot and His Daughters (1799–1800).<br />
<b>Technique:</b> Pen and tempera on canvas.<br />
<b>Size:</b> 10 1/4 x 14 3/4 in. (26 x 37.5 cm).<br />
<b>Courtesy:</b> The Huntington Library, Art Museum, and Botanical Gardens<br />
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True tempera is made by a mixture containing the yolk of fresh eggs, although manuscript illuminators often used egg white and some easel painters added the whole egg. Other emulsions—such as casein glue with linseed oil, egg yolk with gum and linseed oil, and egg white with linseed or poppy oil—have also been used. Individual painters have experimented with other recipes, but few of those have proved successful; all but William Blake’s later tempera paintings on copper sheets, for instance, have darkened and decayed, and it is thought that he mixed his pigment with carpenter’s glue.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEima7gWuSVV9W2RJ9kqt6xFA780rLfeFkxZUzAwiUCIDBx9sfZQmk3lMo1ol6tlqhgvFVXrNL4PcRHCF_lTs4blZbkvsCk7dBSqjPBcvSHuvZkLVWMTniktnuzYK_4VBZVkO8bs6rC0aFp2RmgX4UWb3PSBTsSNZmetN7p0g4RXyA-4H1zp6fi7-RoPR7rg/s742/2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Songs of Innocence and of experience" border="0" height="600" data-original-height="742" data-original-width="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEima7gWuSVV9W2RJ9kqt6xFA780rLfeFkxZUzAwiUCIDBx9sfZQmk3lMo1ol6tlqhgvFVXrNL4PcRHCF_lTs4blZbkvsCk7dBSqjPBcvSHuvZkLVWMTniktnuzYK_4VBZVkO8bs6rC0aFp2RmgX4UWb3PSBTsSNZmetN7p0g4RXyA-4H1zp6fi7-RoPR7rg/s600/2.jpg"/></a></div>
<b>Artist and Title:</b> William Blake (1757–1827) Songs of Innocence and of Experience (1794).<br />
<b>Technique:</b> Hand-colored relief etching on copper plate.<br />
<b>Size:</b> 112 x 68 mm.<br />
<b>Courtesy:</b> Print Room, The British Museum.<br />
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Distemper is a crude form of tempera made by mixing dry pigment into a paste with water, which is thinned with heated glue in working or by adding pigment to whiting (a mixture of fine-ground chalk and size). It is used for stage scenery and full-size preparatory cartoons for murals and tapestries. When dry, its colors have the pale, matte, powdery quality of pastels, with a similar tendency to smudge. Indeed, damaged cartoons have been retouched with pastel chalks.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKVfuzblJLxPQBQTX-O01FZlkeGbkzyWNAwWAIEERYApUxTNayCL2h4w4GJDtF0c9uBNrjGApDaSXlBvJXf1n-HEDkEHLDSVMBoK5VFz63hpWjbw4vRbyOpFwjPmEz6IpgwMT_3Xaq68eaeHtMaLyOg6D9eVsP_o2GaR_N3EerkM2Vud4oNrYSD5PUbI9G/s537/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Entombment" border="0" height="600" data-original-height="537" data-original-width="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKVfuzblJLxPQBQTX-O01FZlkeGbkzyWNAwWAIEERYApUxTNayCL2h4w4GJDtF0c9uBNrjGApDaSXlBvJXf1n-HEDkEHLDSVMBoK5VFz63hpWjbw4vRbyOpFwjPmEz6IpgwMT_3Xaq68eaeHtMaLyOg6D9eVsP_o2GaR_N3EerkM2Vud4oNrYSD5PUbI9G/s600/3.jpg"/></a></div>
<b>Artist and Title:</b> Dirk Bouts, The Entombment (Graflegging in Dutch), probably 1450s. <br />
<b>Technique:</b> Glue-size tempera on linen.<br />
<b>Size:</b> 87.5 × 73.6 cm (34.4 × 29 in).<br />
<b>Courtesy:</b> National Gallery, London (NG 664).<br />
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Egg tempera is the most-durable form of the medium, being generally unaffected by humidity and temperature. It dries quickly to form a tough film that acts as a protective skin to the support. In handling, in its diversity of transparent and opaque effects, and in the satin sheen of its finish, it resembles the modern acrylic resin emulsion paints.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KWyx5rzgdAyOIa33eOnJ9lbUdPD8CZW2aagg0n6FmBbro_7DRi8FdM_0FTxDFA5cFagBD2_E3sgp8G42yKR4LptxyMVQbuMoSHH8iTCrkBR0U1TJT9h8NacynVTgzrPaH-zM17KILGwsbbGTyXffbsXchunSk8W00thn9Yo7pRF4VoZzVb5v4VGgwcWl/s648/4.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Crevole Madonna by Duccio" border="0" height="600" data-original-height="648" data-original-width="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2KWyx5rzgdAyOIa33eOnJ9lbUdPD8CZW2aagg0n6FmBbro_7DRi8FdM_0FTxDFA5cFagBD2_E3sgp8G42yKR4LptxyMVQbuMoSHH8iTCrkBR0U1TJT9h8NacynVTgzrPaH-zM17KILGwsbbGTyXffbsXchunSk8W00thn9Yo7pRF4VoZzVb5v4VGgwcWl/s600/4.jpg"/></a></div>
<b>Artist:</b> Duccio di Buoninsegna (ca. 1283-1284).<br />
<b>Technique and Materials:</b> Tempera and gold on wood.<br >
<b>Size:</b> 86 cm × 60 cm (34 in × 24 in).<br />
<b>Courtesy:</b> Museo dell'Opera metropolitana del Duomo, Siena.<br />
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Traditional tempera painting is a lengthy process. Its supports are smooth surfaces, such as planed wood, fine set plaster, stone, paper, vellum, canvas, and modern composition boards of compressed wood or paper. Linen is generally glued to the surface of panel supports, additional strips masking the seams between braced wood planks. Gesso, a mixture of plaster of paris (or gypsum) with size, is the traditional ground. The first layer is of gesso grosso, a mixture of coarse unslaked plaster and size. That provides a rough absorbent surface for 10 or more thin coats of gesso sottile, a smooth mixture of size and fine plaster previously slaked in water to retard drying. This laborious preparation results in an opaque, brilliant white, light-reflecting surface similar in texture to hard flat icing sugar.<br />
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The design for a large tempera painting was traditionally executed in distemper on a thick paper cartoon. The outlines were pricked with a perforating wheel so that when the cartoon was laid on the surface of the support, the linear pattern was transferred by dabbing, or “pouncing,” the perforations with a muslin bag of powdered charcoal. The dotted contours traced through were then fixed in paint. Medieval tempera painters of panels and manuscripts made lavish use of gold leaf on backgrounds and for symbolic features, such as haloes and beams of heavenly light. Areas of the pounced design intended for gilding were first built up into low relief with gesso duro, the harder, less-absorbent gesso compound also used for elaborate frame moldings. Background fields were often textured by impressing the gesso duro, before it set, with small, carved, intaglio wood blocks to create raised, pimpled, and quilted repeat patterns that glittered when gilded. Leaves of finely beaten gold were pressed onto a tacky mordant (adhesive compound) or over wet bole (reddish brown earth pigment) that gave greater warmth and depth when the gilded areas were burnished.<br />
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Colors were applied with sable brushes in successive broad sweeps or washes of semi-transparent tempera. Those dried quickly, preventing the subtle tonal gradations possible with watercolor washes or oil paint; effects of shaded modelling therefore had to be obtained by a crosshatching technique of fine brush strokes. According to the Italian painter Cennino Cennini, the early Renaissance tempera painters laid the color washes across a fully modeled monochrome underpainting in terre vert (olive-green pigment), a method later developed into the mixed mediums technique of tempera underpainting followed by transparent oil glazes.<br />
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The luminous gesso base of a tempera painting, combined with the cumulative effect of overlaid color washes, produces a unique depth and intensity of color. Tempera paints dry lighter in value, but their original tonality can be restored by subsequent waxing or varnishing. Other characteristic qualities of a tempera painting, resulting from its fast-drying property and disciplined technique, are its steely lines and crisp edges, its meticulous detail and rich linear textures, and its overall emphasis upon a decorative flat pattern of bold color masses.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Pigments for Tempera Painting</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">The list of pigments for tempera painting is the same as that for oil painting except that no pigments containing lead may be used if the painting is to be completely tempera without oil or varnish glazes. When it is to be thouroughly varnished or glazed and varnished, flake white and Naples yellow may be used.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLOKVP7uPTYcgfeiRY2Ch8GnMA-tiJDD8UG7n1iiGSVPJMS5ztOZcq3vMxB0l0KWA8ITj2MIgZ2Bqah3IEf6AY3QE4j5ZkMzRz-tSywJnu7nz9vu9opZsrVFKtirn7YwxnRB03DzzQpGHzMvsmVluB_7L9celdrkkelFypbQTeqznZZ-OYJcktWRIPaHM/s2200/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Flake White" border="0" width="500" data-original-height="2200" data-original-width="2200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLOKVP7uPTYcgfeiRY2Ch8GnMA-tiJDD8UG7n1iiGSVPJMS5ztOZcq3vMxB0l0KWA8ITj2MIgZ2Bqah3IEf6AY3QE4j5ZkMzRz-tSywJnu7nz9vu9opZsrVFKtirn7YwxnRB03DzzQpGHzMvsmVluB_7L9celdrkkelFypbQTeqznZZ-OYJcktWRIPaHM/s600/5.jpg"/></a></div>
Flake White.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL9WjGlOzD9dMeq87Q8xqJ24P3xxsgf5xPS_kQOqaQ21Oo5V4MnVoQUaZGC3yiCJi-OUilQDd9BN5ML5hPv_gV8WB9R5lCnK66nW0gKHFH6uta60GWB1Zj2s2xyTwp-4Gh58LqCh2u3deu78Q4pH4EQrBW_Z84X8S5Qx25l1-yE4JEU4i0RA5KkSEWjn-F/s300/6.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Naples Yellow" border="0" width="500" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL9WjGlOzD9dMeq87Q8xqJ24P3xxsgf5xPS_kQOqaQ21Oo5V4MnVoQUaZGC3yiCJi-OUilQDd9BN5ML5hPv_gV8WB9R5lCnK66nW0gKHFH6uta60GWB1Zj2s2xyTwp-4Gh58LqCh2u3deu78Q4pH4EQrBW_Z84X8S5Qx25l1-yE4JEU4i0RA5KkSEWjn-F/s600/6.jpg"/></a></div>
Naples Yellow.<br />
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In most tempera mediums, titanium has better brushing qualities than either lead or zinc, and it displays none of the faults that it sometimes may exhibit in oil. The extremely powerful tinting strength of the pure oxide is sometimes awkward, and in most instances the barium composite variety will be preferable. The titanium pigments replace white lead in tempera more statisfactorily than they do in oil.<br />
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There are no chemical restrictions as to the various permanent colors which may or may not be used in underpaintings, as even when oil is a constituent of a correctly balnced emulsion, the variation in the flexibility of the films due to a variation in oil absorption by pigments is negligible. The remarks on colors for glazing oil paintings are applicable to colors for glazing tempera.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).</span>
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</div> Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-6271044432450808082024-01-27T07:00:00.034+11:002024-01-27T22:36:43.124+11:00Art Quilts of Michael A. CummingsArt QuiltsMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Art Quilts have featured on this blogspot and so for your convenience I have listed below previous posts in this series:<br />
<a href="https://artquill.blogspot.com.au/2013/02/art-quilts-art-review-marie-therese.html">Art Quilts - Part I</a><br />
<a href="https://artquill.blogspot.com.au/2013/10/art-quilts-part-ii-1-art-essay-marie.html">Art Quilts - Part II</a><br />
<a href="https://artquill.blogspot.com/2018/03/art-quilts-part-iii-art-review-marie.html">Art Quilts - Part III</a><br />
<a href="https://artquill.blogspot.com/2019/03/art-quilts-1995-art-essay-marie-therese.html">Art Quilts - Part IV</a><br />
<a href="https://artquill.blogspot.com/2020/03/art-quilts-part-v1-art-essay-marie.html">Art Quilts - Part V</a><br />
<a href="https://artquill.blogspot.com/2020/06/art-quilts-part-vi1-art-essay-marie.html">Art Quilts - Part VI</a><br />
<a href="https://artquill.blogspot.com/2020/10/art-quilts-part-vii1-art-essay-marie.html">Art Quilts - Part VII</a><br />
<a href="https://artquill.blogspot.com/2021/07/art-quilters-of-netherlands-part-i1-art.html">Art Quilters of the Netherlands - Part I</a><br />
<a href="https://artquill.blogspot.com/2021/10/art-quilters-of-netherlands-part-ii1.html">Art Quilters of the Netherlands - Part II</a><br >
<a href="https://artquill.blogspot.com/2021/12/art-quilters-of-netherlands-part-iii1.html">Art Quilters of the Netherlands - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/04/four-selected-european-art-quilters.html">Four Selected European Art Quilters - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/08/four-selected-european-art-quilters.html">Four Selected European Art Quilters - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/02/four-selected-european-art-quilters-1.html">Four Selected European Art Quilters - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/04/art-quilts-of-jane-sassaman-1-art.html">Art Quilts of Jane Sassaman</a><br />
<a href="https://artquill.blogspot.com/2024/01/art-quilts-of-michael-cummings-art.html">Art Quilts of Michael A. Cummings</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Art Quilts of Michael A. Cummings [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">The energy of Michael A. Cummings central appliquéd images threatens to escape boundaries set by his traditional pieced borders. Combining elements from his African American heritage, Yoruba mythology, and formal art training, his narratives focus on subjects such as jazz musicians, historical heroes, and the Yoruba water goddess.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgHdLfhbApeZefMoOzpUcgVSH3YLMoQ2ySCCh0tp3ZfJvJ77eIgSumvym1P4hEx6zXdpavZBMeraWRufJo1m3UuX8t8J8hLLRQr54In3hl-fsi86yzxx7BQ16Epa0OshqNWvQ3PewgZCN2epU7AeeAN5QvuphBvnp0RwoEA9vTZohMXZyI_1qwNIxnzKL3/s525/A.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="African Jazz #5" border="0" height="600" data-original-height="525" data-original-width="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgHdLfhbApeZefMoOzpUcgVSH3YLMoQ2ySCCh0tp3ZfJvJ77eIgSumvym1P4hEx6zXdpavZBMeraWRufJo1m3UuX8t8J8hLLRQr54In3hl-fsi86yzxx7BQ16Epa0OshqNWvQ3PewgZCN2epU7AeeAN5QvuphBvnp0RwoEA9vTZohMXZyI_1qwNIxnzKL3/s600/A.jpeg"/></a></div>
<b>Title (Year):</b> African Jazz #5 (1990).<br />
<b>Materials and Technique:</b> Cotton, blends, buttons, textile paint; appliquéd, machine sewn.<br />
<b>Size:</b> 2.7 x 1.8 m.<br />
<b>Photo Courtesy:</b> Karen Bell.<br />
<br />
Helper animal and spirit symbols also occupy Cummings' corners or edges of his works, sometimes crawling into the center in their eagerness to be a part of the story. Masks offer layers of meaning that echo the layers of fabric, while glowing yellow accents appear in almost every work, sometimes symbolizing the rhythms of jazz, sometimes the light of heaven. Visual tension is created through the contrast of the orderliness of traditional chintz fabrics and pieced elements with the organized chaos of his appliquéd forms. in trying to create a new aesthetic, Cummings has produced a body of work filled with energy, edginess and excitment.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRmKCO_Wr2vNUEXiJxkLARNZlV5cmjIboXjAVAdRdULHF75H7-yzSXgWn5oOGUYpQqkjOLYPV8qpQPty50ZKYFXPYTzXtb4xNiXC3_IYn6YTOo1X4p1sQ8zY_pN33hdFJFFolafj5fhNP9vfXM33tg5Sr0bwjKnZ2fj35hb3ivs2rwLIyUIVVVQj6lYQ/s500/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Art Quilts of Michael A. Cummings" border="0" height="600" data-original-height="500" data-original-width="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRmKCO_Wr2vNUEXiJxkLARNZlV5cmjIboXjAVAdRdULHF75H7-yzSXgWn5oOGUYpQqkjOLYPV8qpQPty50ZKYFXPYTzXtb4xNiXC3_IYn6YTOo1X4p1sQ8zY_pN33hdFJFFolafj5fhNP9vfXM33tg5Sr0bwjKnZ2fj35hb3ivs2rwLIyUIVVVQj6lYQ/s600/2.jpeg"/></a></div>
<b>Title (Year):</b> Christ Bearing Cross (2003).<br />
<b>Materials and Technique:</b> Fabric, African cotton print, satin, beads; appliquéd, machine and hand sewn.<br />
<b>Size:</b> 1.8 x 1.5 m.<br />
<b>Photo Courtesy:</b> Karen Bell.<br />
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'My African American quilting heritage is rich in traditions and characterized by storytelling and improvisational styles that were introduced by slaves. In slecting my themes, some may come from personal experiences. I've been influenced by the works of Romare Bearden, cubism, tapestries from Senegal, music, folk art, and many art forms from around the world.'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTNayz_y963iDcIApZUQWb0BZkF_edkwOi8B5PjXBOyJliM6SCpSY2osptQZldxra39xVnzgQQ9vxcfFAUtItQEnWWBMYl5YZ2iFQZ2l1UGlYfmQNXSXEIujZLvXRdWcDN5B0r3mcfDXsdACoRiY5Vr0gSnI90yFJco9xIvQn2KtH4YHZ0KNge6N4UYg/s519/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Art Quilts of Michael A. Cummings" border="0" height="600" data-original-height="519" data-original-width="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTNayz_y963iDcIApZUQWb0BZkF_edkwOi8B5PjXBOyJliM6SCpSY2osptQZldxra39xVnzgQQ9vxcfFAUtItQEnWWBMYl5YZ2iFQZ2l1UGlYfmQNXSXEIujZLvXRdWcDN5B0r3mcfDXsdACoRiY5Vr0gSnI90yFJco9xIvQn2KtH4YHZ0KNge6N4UYg/s600/3.jpeg"/></a></div>
<b>Title (Year):</b> Take My Brother Home (1993).<br />
<b>Materials and Technique:</b> Cotton blends, satin, African beadwork, velvet; appliquéd, machine sewn.<br />
<b>Size:</b> 1.8 x 1.5 m.<br />
<b>Photo Courtesy:</b> Karen Bell.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhftPLCTHEajHm2Y0dTIhfgTvXNIgpsbBJj7zAReiMz1hSMFIek8KO9urSI7i3c7L8C9cw4HrRce1f5e0eC8AWmnPqEYhOsT0mfioWY9s64ew-1a1zud3BAHGXGuN_NSRHtk_CNMWySbem8GbCXDHaf4ltw9chlFQtFvXYSn8er-7Ko0lBiymLj-46Q/s440/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Art Quilts of Michael A. Cummings" border="0" height="600" data-original-height="440" data-original-width="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhftPLCTHEajHm2Y0dTIhfgTvXNIgpsbBJj7zAReiMz1hSMFIek8KO9urSI7i3c7L8C9cw4HrRce1f5e0eC8AWmnPqEYhOsT0mfioWY9s64ew-1a1zud3BAHGXGuN_NSRHtk_CNMWySbem8GbCXDHaf4ltw9chlFQtFvXYSn8er-7Ko0lBiymLj-46Q/s600/4.jpeg"/></a></div>
<b>Title (Year):</b> I'll Fly Away (1991).<br />
<b>Materials and Techniques:</b> Cottons, blends, African fabric, fabric, antique quilt blocks.<br />
<b>Size:</b> 2.3 x 2.1 m.<br />
<b>Photo Courtesy:</b> Karen Bell.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5-rXc6MDUxiIpTuKIdU5KvsYceAfyGJvejxZErvuewWVEliMTXZfrW4qijslgpiUcxw-uL4Zu9amhHl3ObL4GYTXbdbhEx3Xed__qwBX_daB3PAcBUtxxr4xRGN697oo8ifoo-VPJjiQGbZmGbobBU48vU-JAkRc_m2SOS9GDALRmB7MU_YBaED8jSg/s490/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Art Quilts of Michael A. Cummings" border="0" width="500" data-original-height="479" data-original-width="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5-rXc6MDUxiIpTuKIdU5KvsYceAfyGJvejxZErvuewWVEliMTXZfrW4qijslgpiUcxw-uL4Zu9amhHl3ObL4GYTXbdbhEx3Xed__qwBX_daB3PAcBUtxxr4xRGN697oo8ifoo-VPJjiQGbZmGbobBU48vU-JAkRc_m2SOS9GDALRmB7MU_YBaED8jSg/s600/5.jpeg"/></a></div>
<b>Title (Year):</b> Haitian Mermaid #3 (1995).<br />
<b>Materials and Techniques:</b> Cottons, blends, fabric, velvet, rayon; machine sewn and appliquéd.<br />
<b>Size:</b> 1.5 x 1.5 m.<br />
<b>Photo Courtesy:</b> Karen Bell.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7sAdYAKmGM8zpNRLOQXNv35IjUq9sdGgDjb-YndZdxqurcKCwR70rTXPZn7XTR0AE1B86UsjGS_TwLwT6urKULvjhzPWHanDWs93TIUhNt6Qs2D__szKWQl0V-tvEOprApeC1Y2lO32WOLROvDQcBHzUJHGGzYx8LxSrsvFPQUzk1JClfpZTqYeShoQ/s293/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Art Quilts of Michael A. Cummings" border="0" width="500" data-original-height="266" data-original-width="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7sAdYAKmGM8zpNRLOQXNv35IjUq9sdGgDjb-YndZdxqurcKCwR70rTXPZn7XTR0AE1B86UsjGS_TwLwT6urKULvjhzPWHanDWs93TIUhNt6Qs2D__szKWQl0V-tvEOprApeC1Y2lO32WOLROvDQcBHzUJHGGzYx8LxSrsvFPQUzk1JClfpZTqYeShoQ/s600/6.jpeg"/></a></div>
<b>Title (Year):</b> Purplish Cooper (2001).<br />
<b>Materials and Techniques:</b> Cottons, linen, blends, silk; machine sewn.<br />
<b>Size:</b> 1.8 x 1.8 m.<br />
<b>Photo Courtesy:</b> Karen Bell.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1iaZAMJ9Y9EqwHBazzqxvuTpjbncpsYAg37FJ2Au9sYX-B5S6VAHq9U0GAB_e_0h8-2LEFKsXgtkManjPAIksryxZmRhUPmyzl7sS8bheDj8EROGW6_1S7ZFTWeeferlqM754F7NhHwMV2BETWodK9dsF9ptGvTPVejEOvofuWX6bGuSUamhJnQbKHw/s281/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Art Quilts of Michael A. Cummings" border="0" width="500" data-original-height="265" data-original-width="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1iaZAMJ9Y9EqwHBazzqxvuTpjbncpsYAg37FJ2Au9sYX-B5S6VAHq9U0GAB_e_0h8-2LEFKsXgtkManjPAIksryxZmRhUPmyzl7sS8bheDj8EROGW6_1S7ZFTWeeferlqM754F7NhHwMV2BETWodK9dsF9ptGvTPVejEOvofuWX6bGuSUamhJnQbKHw/s600/7.jpeg"/></a></div>
<b>Title (Year):</b> Rear Admiral (2001).<br />
<b>Materials and Techniques:</b> Cotton, linen silk, machine sewn, appliquéd.<br />
<b>Size:</b> 1.8 x 1.8 m.<br />
<b>Photo Courtesy:</b> Karen Bell.
</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] M. Sielman, Masters: Art Quilts, Larks Books, New York (2008).</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-83674687906409153042024-01-20T07:00:00.110+11:002024-01-21T08:17:55.894+11:00Melbourne Now - Part III [1]Art ExhibitionMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">'Melbourne Now' was an art exhibition mounted by the National Gallery of Victoria (Melbourne, Australia) in 2014. It takes as its premise the idea that a city is significantly shaped by the artists, designers, architects, choreographers, intellectuals and community groups that live and work within its midsts. The aim is to explore how Melbourne's visual artists and creative practitioners contribute to the dynamic cultural identity of this city. The result is an exhibition that celebrates what is unique about Melbourne's art design and architectural communities.<br />
<br />
The intention of this exhibition is to encourage and inspire everyone to discover some of the best of Melbourne's culture. To help achieve this, family-friendly activities, dance and music performances, inspiring talks from creative practitioner's, city walk, ephemeral installations and cultural events that make up the public program.<br />
<br />
This and other posts in this series will concentrate on the participating artists rather than on other features of the exhibition events (e.g., family friendly commissions developed especially for children and young audiences that aimed to encourage participatory learning for kids and families etc.)<br />
<br />
For your convenience I have listed below other posts on thie blogspot that features exhibitions:<br />
<a href="https://artquill.blogspot.com/2023/09/melbourne-now-part-i-1-art-exhibition.html">Melbourne Now - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/11/melbourne-now-part-ii-1-art-exhibition.html">Melbourne Now - Part II</a></span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Melbourne Now - Part III [1]</b></span><br />
<br />
<span style="font-family: Helvetica; font-size: 10pt;"><b>Lyndell Brown and Charles Green with Jon Cattapan</b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiudrErbVgas1cj0Xz8DtQ9XPVYj7sKc8WnR230RVRlva2nLy0HdZ1zVAnhvfiGUvKu6kW7ggrTif8ipW-3_clAyIXONWh-1JL2frBxfHtzEdGWZFjnzSkqZYbrNU6bcIUKApYbXCjHL4D5w-73A5DdIA_7ixijYLSzrNmRM9mKOAU-DsvGXiGZ0pMpKw/s916/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="War and Peace #5: The Leopard, 2013" border="0" width="500" data-original-height="794" data-original-width="916" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiudrErbVgas1cj0Xz8DtQ9XPVYj7sKc8WnR230RVRlva2nLy0HdZ1zVAnhvfiGUvKu6kW7ggrTif8ipW-3_clAyIXONWh-1JL2frBxfHtzEdGWZFjnzSkqZYbrNU6bcIUKApYbXCjHL4D5w-73A5DdIA_7ixijYLSzrNmRM9mKOAU-DsvGXiGZ0pMpKw/s600/1.jpeg"/></a></div>
<b>Title:</b> War and Peace #5: The Leopard, 2013.<br />
<br />
Working collaboratively since 1989, Lyndell Brown and Charles Green interweave painting and photography to explore cultural representations and archival histories. Blurring the individual hand, this pair create visually and conceptually layered works that overlap and unfold. Jon Cattapan is an equally well-known visual artist who explores political and social representations of urban environment through paintings of perceptual and narrative complexity. Both Brown/Green (2007) and Cattapan (2008) were commissioned by the Australian War Memorial as 'Offical War Artists,' and the three artists are involved in a long-term collaboration.<br />
<br />
Brown/Green and Cattapan recently embarked on new works that commence with photographs printed on Duraclear film, overpainted by Cattapan and Brown/Green in turn. This series, 'War and Peace (2013),' explores the aftermath of peace keeping and war, connecting the Australian landscape to its wider military, media and pop-culture context. Bringing together their on-site observations, screen culture aesthetics and the image flow of the internet, the pictorial strategies of Brown/Green and Cattapan are not aimed at perserving identity, but rather suspending spectacle, allowing for close analysis and arresting contemplation.<br />
<br />
<b>Trevor Turbo Brown</b><br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeonc3GfhocKUJ2tCx_L9VIXhbWwU488SqCDDM9QKKhdimk4sQebhDOOat-3hShTX-E_kr_uWU_tvOgLqIns_aT5fREIiF5bobsHx6KbjEqKt4sdAP0vrmvpY9QOYVV_uw4GhYMt893yt80Eh9bEWgmNy7RLjry3vZzxZCdbIg_RsWyG2WmfCqwD6Pqg/s1238/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Last Man Standing (2012)" border="0" height="600" data-original-height="1238" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeonc3GfhocKUJ2tCx_L9VIXhbWwU488SqCDDM9QKKhdimk4sQebhDOOat-3hShTX-E_kr_uWU_tvOgLqIns_aT5fREIiF5bobsHx6KbjEqKt4sdAP0vrmvpY9QOYVV_uw4GhYMt893yt80Eh9bEWgmNy7RLjry3vZzxZCdbIg_RsWyG2WmfCqwD6Pqg/s600/2.jpeg"/></a></div>
<b>Title:</b> Last Man Standing (2012).<br />
<br />
Mildura born Trevor Turbo Brown was stolen from his Latje Latje family, grew up in a boy's home in Sydney's west (Australia) and then lived on the streets where, he claims that animals were his only friends. In 1981 Brown moved to Melbourne (Australia) and became a celebrity in the Koori community for his boxing at the Fitzroy Stars Gym and breakdancing street performances, which earned him the epithet 'Turbo' after one of the protangonists in the 1984 film 'Beat Street.' Brown started painting in 2001, and completed a Diploma of Visual Arts at RMIT University (Melbourne) in 2005.<br />
<br />
Brown's contribution to Melbourne Now comprises a comforting self-portrait, 'Last Man Standing (2012)' and three spirited paintings of animals in their natural environment symbolic of the artist's vision of his 'Dreaming Country' before it was cleared by whites. Working intuitively with spontaneous brush strokes, Brown creates joyous impressions of his 'friends' - an owl, a crocodile and two goannas - and captures the verdant landscape with breakdance verve and vivid schematic distress. 'Last Man Standing,' Brown's only self-portrait, is a moving unmasking of the self, a cry of psychic pain, an exorcism and a dance of freedom.<br />
<br />
<b>Janet Burchill and Jennifer McCamley</b><br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEZkIXjyFg0plQGxmML8vu9nS8bvEMWrJbwGy_mFHvveWY2sn8tHSb4jVgZBEMLKrIfSG9k7XJ0H7fsZbtDKKnw47fwXJlng0GmPCpwAbUBXYhlPTem0OgCt_F1gGM8NJOnAhD2sXPdgJF8otH_ZZcb03KGlW9rAM0uG9QBdgr38KfAYmj0REDbfRDA/s1318/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Oceania Communion (2012)" border="0" height="600" data-original-height="1318" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEZkIXjyFg0plQGxmML8vu9nS8bvEMWrJbwGy_mFHvveWY2sn8tHSb4jVgZBEMLKrIfSG9k7XJ0H7fsZbtDKKnw47fwXJlng0GmPCpwAbUBXYhlPTem0OgCt_F1gGM8NJOnAhD2sXPdgJF8otH_ZZcb03KGlW9rAM0uG9QBdgr38KfAYmj0REDbfRDA/s600/3.jpeg"/></a></div>
<b>Title:</b> Oceania Communion (2012). Detail.<br />
<br />
Janet Burchill and Jennifer McCamley have worked collaboratively since the 1980s. Their practice often engages with the legacies of modernism and traverses a wide range of references from psychoanalysis to film to literature to feminism. It also frequently plays across boundaries of art and design, sculpture and furniture.<br />
<br />
Shields from Papua New Guinea, held in the National Gallery of Victoria's collection (Melbourne), provided an aesthetic catalyst for the artists to develop an open-ended series of their own shields. The work 'Belief' includes shields made by Burchill and McCamley between 2004 and 2013. In part, this installation mediates on the form and function of shields from the perspective of a type of reverse ethnography.<br />
<br />
As the artists explain: 'The shield is an emblematic form ghosted by the functions of attack and defence and characterized by the aggressive display of insignia. We treat the shield as a perverse type of modular unit. While working with repitition, each shield acts as a carrier or container for different types or registers of content, motifs, emblems and aesthetic strategies. The series as a whole then becomes a large sculptural collage which allows us to incorporate a wide range of responses to making art and being alive now.'<br />
<br />
<b>Penny Byrne</b><br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5xJcxkho3-v3LyY3vEOPCpUmpqgdqN6MbuCs7nOlKyAUAnqEuoUcRVahc2dQvcaL5yFRxJNbRof6yYfdcTLUyqEa0E4ZWHx-5lngc6tXPXO5STKj1k1ACiZnpC-9B8RpRH8Fu9Aob09pJQcINf6k8CSkW7qAymnf6EdQ2MGuGY13CU3dnZ-cuAuXZ1A/s1338/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="iProtest (2012-13)" border="0" height="600" data-original-height="1338" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5xJcxkho3-v3LyY3vEOPCpUmpqgdqN6MbuCs7nOlKyAUAnqEuoUcRVahc2dQvcaL5yFRxJNbRof6yYfdcTLUyqEa0E4ZWHx-5lngc6tXPXO5STKj1k1ACiZnpC-9B8RpRH8Fu9Aob09pJQcINf6k8CSkW7qAymnf6EdQ2MGuGY13CU3dnZ-cuAuXZ1A/s600/4.jpeg"/></a></div>
<b>Title:</b> iProtest (2012-13) Detail.<br />
<br />
Penny Byrne is both a visual artist of repute and a highly respected and sought-after ceramics conservator. Using techniques employed in her conservation work, Byrne creates contentious works of art from recycled mass-produced porcelain figurines and toys. Her often satrical modifications of these coy figurines are not obvious: by tinkering with their kitsch aesthetic, Byrne creates a shock of the familiar being used in unexpected ways.<br />
<br />
While at first iProtest (2012-2013) resembles a display of endearing souvenir-style figurines hanging on a wall, its potency is revealed on closer inspection. Each figurine is personalized with details relating to one of the many conflicts driven by mass protests around the world. Nationalism is referenced by faces painted with flags; acts of violence leave bodies dismembered and bloodied; and the cutest figures are in fact riot police, wielding guns and dressed as clowns. The omnipresent symbol of Facebook is also ingeniously added to the work. Byrne's crowd of modified figurines explores the way social media has become a significant tool for coordinating protests around the world.<br />
<br />
<b>John Campbell</b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyHIavmESRn1tJCAKQiWSSIGnNQSFmS4uyCR6ixMEOG-JeeaUYMK3E6G3fBj4YQEVj7DI-fXakCC18vNutbNI3xULdyIqGOxFNxnISGjrOcBUq_8iwSNPEXrFZ6xLE0mKG601Os1vJ-U4HPqCaVa1p0XgnvWGOEs2DuuOhIx8RZHvxIE2JL5Agnmwt3g/s1341/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Dunno (T. Towels)" border="0" height="600" data-original-height="1341" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyHIavmESRn1tJCAKQiWSSIGnNQSFmS4uyCR6ixMEOG-JeeaUYMK3E6G3fBj4YQEVj7DI-fXakCC18vNutbNI3xULdyIqGOxFNxnISGjrOcBUq_8iwSNPEXrFZ6xLE0mKG601Os1vJ-U4HPqCaVa1p0XgnvWGOEs2DuuOhIx8RZHvxIE2JL5Agnmwt3g/s600/5.jpeg"/></a></div>
<b>Title:</b> Dunno (T. Towels) (2012) Detail.<br />
<br />
John Campbell has been a fixture on the Melbourne art scene since he first began exhibiting paintings of suburban youth culture in the 1980s. Over time his practice has evolved to become one of the more complex examples of Australian 'Pop Art.' Sourcing his materials from a seemingly endless cache of overlooked suburban motifs, Campbell uses the seductively familiar materials and techniques of commercial art and design to foster an audience for these symbols within the hallowed spaces of the contermporary art gallery.<br />
<br />
For Melbourne Now, Campbell presents DUNNO (T. Towels) (2012), a work that continues his fascination with the vernacular culture of suburban Australia. Compromising eighty-five tea towels, some in their original condition and others that Campbell had modified through the addition of 'choice' snippets of Australian slang and cultural signifiers, this seemingly quotidian assortment of kitsch 'kitchenalia' is transformed into a mock heroic frieze in which we can discover the values and dramas of our present age.<br />
<br />
<b>Maree Clarke</b><br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGenZYc-YkzIT0BhyU1Ewipb0-sdSEcX9nd0ROIlqP-1w2hUES_GtcvqRv5mohWRfqDiKrgGNfipz7BMx5MYSvdJ10YRPnKoLEk-p7mCslBnM7TfWQnJF2N4qXrnImQ5g3l9nDdckJsgbhd0JHgHLgcO0-BmzkN88KRfVk4CCeeVPicsqWm4cVI9N-yA/s896/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Men in Mourning" border="0" width="500" data-original-height="553" data-original-width="896" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGenZYc-YkzIT0BhyU1Ewipb0-sdSEcX9nd0ROIlqP-1w2hUES_GtcvqRv5mohWRfqDiKrgGNfipz7BMx5MYSvdJ10YRPnKoLEk-p7mCslBnM7TfWQnJF2N4qXrnImQ5g3l9nDdckJsgbhd0JHgHLgcO0-BmzkN88KRfVk4CCeeVPicsqWm4cVI9N-yA/s600/6.jpeg"/></a></div>
<b>Title:</b> Men in Mourning (2012).<br />
<br />
Swan Hill (Victoria, Australia) born Maree Clarke lived for some time on Balranald mission in Munatunga mission Robinvale (Victoria), before settling in Mildura (Victoria), and is connected to the traditional lands of the Mutti Mutti, Wamba Wamba, Yorta Yorta and Boonwurrunga Aboriginal peoples. Clarke has developed a profound and meditative multidisciplinary practice that reclaims and celebrates precious elements of Aborignal customary ritual, language and art, lost during the British colonisation of Victoria.<br />
<br />
Clarke's site-specific installation, Ritual and Ceremony (2013), render palpable the unconscionable loss and sorrow experienced by Victorian Aboriginal people as a continuing legacy of colonization. The artist's brooding and poignant photographic images of forty-five men and thirty-eight women bearing ritual markings of mourning create a memorable symbol of collective grief for missing people, stolen Country, lost languages and silenced culture, as well a resilient survival. Moreover, Clarke's video interviews with the individual subjects enable the frozen portraits to come alive, thereby challenging stereotypes of Victorian Aboriginal people as 'inauthentic,' and humanizing their experiences. Resonant with the courageous voices of Koori leaders the installation becomes a healing space inviting multicultural contemplation, sharing and the possibility of reconciliation.<br />
<br />
<b>Bindi Cole</b><br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2gfNkYwrjbotWa13S6dRUdpsXXFl1W5ZElvooHxV6UJhfGXBloE-2ozuEiQ3LxeaUeFak5529JQYXntkmSvthqG6AY0tHsaIgX7mwcDLk8_jgW7gzoUI0KX-5wg2izZUE4tiOav4bgriGV_pyvzH5YOs1k7jduDcxaleY_4CGiC79xmSkexCmYGR0Mg/s896/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="EH5452 (2012) (Still)" border="0" width="500" data-original-height="504" data-original-width="896" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2gfNkYwrjbotWa13S6dRUdpsXXFl1W5ZElvooHxV6UJhfGXBloE-2ozuEiQ3LxeaUeFak5529JQYXntkmSvthqG6AY0tHsaIgX7mwcDLk8_jgW7gzoUI0KX-5wg2izZUE4tiOav4bgriGV_pyvzH5YOs1k7jduDcxaleY_4CGiC79xmSkexCmYGR0Mg/s600/7.jpeg"/></a></div>
<b>Title:</b> EH5452 (2012) (still photograph).<br />
<br />
Bindi Cole is a resilient indigenous Melbourne-born photographer, curator and new media artist of Wathaurong Aboriginal descent. Cole's early interest in photography was curtailed by a descent into depression and drugs caused by the trauma of her mother's heroin addiction and death from cancer. During a transformative prison term, Cole found Christianity and recaptured her self-belief. Her deeply personal and powerful artistic practice questions the way settler Australians circumscribed and misconstrued contemporary Aboriginal identity and experience.<br />
<br />
Cole's, 'A Wolf in Sheep's Clothing' series (2012) explores the tension between Christianity and Aboriginality, a conflict between different understandings that has resulted in acts of violence and cultural silencing. The artist has been profoundly changed by the revelation of Jesus, but she struggles with the notion that so many 'wolves in sheep's clothing' ran missions in Victoria (Australia) that, in the name of God, participated in the decimation of indigenous culture and languages. The legacy of this difficult history, a longstanding resentment for the atrocities committed under the banner of Christianity, lingers in the Victorian Aboriginal community, and moreover, throughout the world with respect to the indigenous communities.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] T. Ellwood, Director, National Gallery of Victoria (Melbourne, Australia).</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-33633174316983361962024-01-13T07:00:00.507+11:002024-03-04T11:15:30.418+11:00Pigments for Water Color [1]Art ResourceMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">This is the twenty-nineth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:<br />
<a href="https://artquill.blogspot.com/2021/08/drawing-art-resource-marie-therese.html">Drawing Art</a><br />
<a href="https://artquill.blogspot.com/2021/09/painting-part-i-art-resource-marie.html">Painting Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2021/10/painting-part-ii-art-resource-marie.html">Painting Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2021/11/painting-part-iii1-art-resource-marie.html">Painting Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2021/12/painting-part-iv-art-resource-marie.html">Painting Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/painting-art-part-v-1-art-resource.html">Painting Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/02/painting-art-part-vi-1-art-resource.html">Painting Art - Part VI</a><br />
<a href="https://artquill.blogspot.com/2022/03/home-made-painting-art-materials-art.html">Home-Made Painting Art Materials</a><br />
<a href="https://artquill.blogspot.com/2022/04/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/05/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/06/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/07/historical-notes-on-art-part-i-1-art.html">Historical Notes on Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/08/historical-notes-on-art-part-ii-1-art.html">Historical Notes on Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/09/historical-notes-on-art-part-iii-1-art.html">Historical Notes on Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/10/historical-notes-on-art-part-iv-1-art.html">Historical Notes on Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/historical-notes-on-art-part-v-1-art.html">Historical Notes on Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/12/tempera-painting-1-art-resource-marie.html">Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2023/02/oil-painting-part-i-1-art-resource.html">Oil Painting - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/01/oil-painting-part-ii-1-art-resource.html">Oil Painting - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/04/oil-painting-part-iii-1-art-resource.html">Oil Painting - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/05/oil-painting-part-iv-art-resource-marie.html">Oil Painting - Part IV</a><br />
<a href="https://artquill.blogspot.com/2023/06/oil-painting-part-v-1-art-resource.html">Oil Painting - Part V</a><br />
<a href="https://artquill.blogspot.com/2023/07/oil-painting-part-vi-1-art-resource.html">Oil Painting - Part VI</a><br />
<a href="https://artquill.blogspot.com/2023/08/pigments-1-art-resource-marie-therese.html">Pigments</a><br />
<a href="https://artquill.blogspot.com/2023/09/classification-of-pigments-part-i-1-art.html">Classification of Pigments - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/10/classification-of-pigments-part-ii-1.html">Classification of Pigments - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/11/classification-of-pigments-part-iii-1.html">Classification of Pigments - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/12/pigments-for-oil-painting-1-art.html">Pigments for Oil Painting</a><br />
<a href="https://artquill.blogspot.com/2024/01/pigments-for-water-color-1-art-resource.html">Pigments for Water Color</a><br />
<a href="https://artquill.blogspot.com/2024/02/pigments-for-tempera-painting-art.html">Pigments for Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2024/03/pigments-for-pastel-1-art-resource.html">Pigments for Pastel</a><br />
<br />
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:<br />
(i) Units used in dyeing and printing of fabrics;<br />
(ii) Occupational, health & safety issues in an art studio;<br />
(iii) Color theories and color schemes;<br />
(iv) Optical properties of fiber materials;<br />
(v) General properties of fiber polymers and fibers - Part I to Part V;<br />
(vi) Protein fibers;<br />
(vii) Natural and man-made cellulosic fibers;<br />
(viii) Fiber blends and melt spun fibers;<br />
(ix) Fabric construction;<br />
(x) Techniques and woven fibers;<br />
(xi) Basic and figured weaves;<br />
(xii) Pile, woven and knot pile fabrics;<br />
(xiii) Durable press and wash-and-wear finishes;<br />
(xvi) Classification of dyes and dye blends;<br />
(xv) The general theory of printing.<br />
<br />
To access any of the above resources, please click on the following link - <a href="https://artquill.blogspot.com.au/2012/04/units-used-in-dyeing-and-printing-of.html">Units Used in Dyeing and Printing of Fabrics</a>. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the <a href="https://artquill.blogspot.com.au/2012/03/glossary-of-terms-and-fabrics-1-13-art.html">Glossary of Cultural and Architectural Terms</a>, <a href="https://artquill.blogspot.com.au/2014/01/timelines-of-fabrics-dyes-and-other.html">Timelines of Fabrics, Dyes and Other Stuff</a>, <a href="https://artquill.blogspot.com.au/2015/12/a-fashion-data-base-edition-1-art.html">A Fashion Data Base</a>, the <a href="https://artquill.blogspot.com.au/2016/03/glossary-of-colors-dyes-inks-pigments.html">Glossary of Colors, Dyes, Inks, Pigments and Resins</a>, the <a href="https://artquill.blogspot.com.au/2016/07/glossary-of-fabrics-fibers-finishes.html">Glossary of Fabrics, Fibers, Finishes, Garments and Yarns</a>, <a href="https://artquill.blogspot.com.au/2017/05/glossary-of-art-artists-art-motifs-and.html">Glossary of Art, Artists, Art Motifs and Art Movements</a>, <a href="https://artquill.blogspot.com.au/2018/01/glossary-of-paper-photography-printing.html">Glossary of Paper, Photography, Printing, Prints and Publication Terms</a> and the <a href="https://artquill.blogspot.com/2019/01/glossary-of-scientific-terms-version-35.html">Glossary of Scientific Terms</a>. All data bases in the future will be updated from time-to-time.<br />
<br />
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.<br />
<br />
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Although any and all of the pigments in this post and following posts may be used, many will be found to be superfluous on a working palette. While painters will naturally have their preferences for specific pigments, some pigments, although definitely separate colors with varying properties, are so closely related to each other than more than one will seldom be required in the same pictiure. The families and groups have been printed on the same line.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Pigments for Water Color [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">None of the pigments which contain lead or other substances which are chemically affected by exposure to atmosphere may be used. Families or groups have been printed on the same line. An sterisk (*) denotes lesser-used pigments.<br />
<br />
<b>White</b><br />
(i) Chinese white (zinc white).<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpHBt-xg8_Sqfgdw-FvSu1DRaMFSa36BSGMTomXvrP5Z9kcq1kI_REBgxLv7KYUakHWR4DLOXwx1nBHtWCan8gePH_yn2CXhjDmVZKkzWvoll56MnfiQmF7J18CMHk9rvEDn1fO8mK9Yiupk0i889Ouq1vFkx080r-dguf_LIY3F8Vsy1ZuqddEKmuzG4D/s500/1.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="Zinc White" border="0" width="500" data-original-height="500" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpHBt-xg8_Sqfgdw-FvSu1DRaMFSa36BSGMTomXvrP5Z9kcq1kI_REBgxLv7KYUakHWR4DLOXwx1nBHtWCan8gePH_yn2CXhjDmVZKkzWvoll56MnfiQmF7J18CMHk9rvEDn1fO8mK9Yiupk0i889Ouq1vFkx080r-dguf_LIY3F8Vsy1ZuqddEKmuzG4D/s600/1.png"/></a></div><br />
<br />
(ii) Titanium oxide (Titanium pigment).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFl2rGEY1mgvzMY-PO0xJoXeY68XSsRcTsrvI5Vs9jeKfJJ4mmRmKHTRPDMon2VtO0JxDpRi2ipiese3jprmgxn6uA2n8tdVHzdzjIY_-NmBVucX9cWsqGm8FM3WbYPiMyWmy4XQFXmsZGR9GhgNRp1T31vWcYoFP4m-WruyEU75qWIrSEzvbHSP4DqL7G/s1174/A.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Titanium Oxide" border="0" width="400" data-original-height="622" data-original-width="1174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFl2rGEY1mgvzMY-PO0xJoXeY68XSsRcTsrvI5Vs9jeKfJJ4mmRmKHTRPDMon2VtO0JxDpRi2ipiese3jprmgxn6uA2n8tdVHzdzjIY_-NmBVucX9cWsqGm8FM3WbYPiMyWmy4XQFXmsZGR9GhgNRp1T31vWcYoFP4m-WruyEU75qWIrSEzvbHSP4DqL7G/s600/A.jpg"/></a></div><br />
<br />
<b>Black</b><br />
(i) Ivory Black. Lampblack. Mars Black.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwhTvKn0p5zpmOjluvAcBgcvJSjRQ03qeRY4Zd0gkUpNO0V2lLfmJ13kO96wzkmlxCT-ZKeNZ5-4dI1pj3WacMusKIQBSIP4b7NVw3DVjI-lFYLDZRvV-w-4o3lL-VeB0IYY-h9EJKHZyaq1dTJRvWSoBFfmKkaZGj1w2_JT7dWO9_0cN2SL3-KJJB-gp7/s286/B.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Ivory Black" border="0" height="600" data-original-height="286" width="400" data-original-width="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwhTvKn0p5zpmOjluvAcBgcvJSjRQ03qeRY4Zd0gkUpNO0V2lLfmJ13kO96wzkmlxCT-ZKeNZ5-4dI1pj3WacMusKIQBSIP4b7NVw3DVjI-lFYLDZRvV-w-4o3lL-VeB0IYY-h9EJKHZyaq1dTJRvWSoBFfmKkaZGj1w2_JT7dWO9_0cN2SL3-KJJB-gp7/s600/B.jpg"/></a></div><br />
<br />
<b>Red</b><br />
(i) Cadmium light.<br />
<br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO1xlzBY4AfD8Zdtq09R1q0b41ZYNvlvCVBtVSQQlceCqVZmbA0b1mySnu9zIOtrx2v7DZvmC1K_hxesBnTZc3LuwPjSEjUXOBJBRqljX2xEUoXHSC4nGlhjuxd8rdY-0St1SA_VuT-5UgGi3vqKRyY_BRW0x3u4sONuEiLo4xxcHRI5rYsvOB9aOE_zj9/s572/C.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium Light" border="0" height="500" data-original-height="286" data-original-width="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO1xlzBY4AfD8Zdtq09R1q0b41ZYNvlvCVBtVSQQlceCqVZmbA0b1mySnu9zIOtrx2v7DZvmC1K_hxesBnTZc3LuwPjSEjUXOBJBRqljX2xEUoXHSC4nGlhjuxd8rdY-0St1SA_VuT-5UgGi3vqKRyY_BRW0x3u4sONuEiLo4xxcHRI5rYsvOB9aOE_zj9/s600/C.jpg"/></a></div><br />
<br />
(ii) Alizarin Crimson.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2rJh1Ow4kC2gBMmKc62APs3fFjK5mBDTSKgnyDGRxWbRkff3TrpBMLyYffQVs5YdOnh0920lF5XdkbwlztEk8-wNe4pQSI6Dkie41kGMCH16LH3r_S7ia3cFkaUNR_rxL_sZNKdb8pGrCtvc1SwxUdc9hXpqUIycAidqgncP0UXCr-KXP_jPBZQN946-p/s788/D.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Alizarin crimson" border="0" height="600" data-original-height="788" width="400" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2rJh1Ow4kC2gBMmKc62APs3fFjK5mBDTSKgnyDGRxWbRkff3TrpBMLyYffQVs5YdOnh0920lF5XdkbwlztEk8-wNe4pQSI6Dkie41kGMCH16LH3r_S7ia3cFkaUNR_rxL_sZNKdb8pGrCtvc1SwxUdc9hXpqUIycAidqgncP0UXCr-KXP_jPBZQN946-p/s600/D.jpg"/></a></div><br />
<br />
(iii) Pure iron oxides (Indian red, light red, Mars red).<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS4fjxpPByLl_4Bz-si7KAPMyg7r_OOI7xapvCtpysyvhPh6Zhrxj14ltza3XxQAK_MpOwypdZVaRGn5FUIBpUaPuB6g3vJxJ5cjKlU9EYOq6cIs0g6QeBMYrEuRs18KK17vbeXpoUfK6WGz-ydmjdFri4mvkBLKegPfREuut_FmgQ1Mg3o6iVmkpXJEit/s758/E.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Pure Iron Oxides" border="0" height="600" data-original-height="788" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS4fjxpPByLl_4Bz-si7KAPMyg7r_OOI7xapvCtpysyvhPh6Zhrxj14ltza3XxQAK_MpOwypdZVaRGn5FUIBpUaPuB6g3vJxJ5cjKlU9EYOq6cIs0g6QeBMYrEuRs18KK17vbeXpoUfK6WGz-ydmjdFri4mvkBLKegPfREuut_FmgQ1Mg3o6iVmkpXJEit/s600/E.jpg"/></a></div><br />
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(iv)<sup>*</sup>Cadmium medium, deep, and maroon.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU18Pt7A5-vaHz08YpSM5gd9c9EyWRGTvxRJfGoOi19kULfTqHD86VmesXdPIpbk0UkBIKOjoUj0EtSEYs7z1MoRfhOMXzFxt0P7HQNeYj-ZJuawoRQamuvw8xpPhM7X0X4QJePO0Z_BEJN10Lai1NHnWzsuKjaEM9zbEiqklJVWZ8OTIfmrroqK9cLzrn/s1438/F.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium Medium" border="0" width="500" data-original-height="1342" data-original-width="1438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU18Pt7A5-vaHz08YpSM5gd9c9EyWRGTvxRJfGoOi19kULfTqHD86VmesXdPIpbk0UkBIKOjoUj0EtSEYs7z1MoRfhOMXzFxt0P7HQNeYj-ZJuawoRQamuvw8xpPhM7X0X4QJePO0Z_BEJN10Lai1NHnWzsuKjaEM9zbEiqklJVWZ8OTIfmrroqK9cLzrn/s600/F.jpg"/></a></div><br />
<br />
<b>Yellow</b><br />
(i) Cadmium, pale.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxk5km1KEqkgmofZlcNu8CzW5oJxaoQbeSTXkq-qQvVnoobE5neQY-qaFbeNkF_1zLEeD1Vh51c8DEnqlJhlXjjS9cQic1ZlUweRofsfDhvu_0DL6tG-_srZegNIC92L-3gNqDbbfECZhC56PPMDlmrE9pbWDJJKr7LzaMYSJYYT8AYfYL2h_OhVeLPbm9/s960/G.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium Pale Yellow" border="0" width="400" data-original-height="960" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxk5km1KEqkgmofZlcNu8CzW5oJxaoQbeSTXkq-qQvVnoobE5neQY-qaFbeNkF_1zLEeD1Vh51c8DEnqlJhlXjjS9cQic1ZlUweRofsfDhvu_0DL6tG-_srZegNIC92L-3gNqDbbfECZhC56PPMDlmrE9pbWDJJKr7LzaMYSJYYT8AYfYL2h_OhVeLPbm9/s400/G.jpg"/></a></div><br />
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(ii) Cadmium medium. Cadmium deep.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgegvMd7Dt7Lp1rICya-DWgQckFdC7sYMePXnkp3bLynaGSqYHXA-MERWTaMByWzHECdS9Zz1mf7VaPG-IQyxAoKLS5LnPhf3JGTRNE-hB1jrdWBd-I7mW_PAk4fzJOwPbjA5M_MenABa6285IdnmUHWE1ZwAnvXIbHL6VfvDdmBXQqZOY6bzvngA8dDTy/s800/H.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium Deep" border="0" width="500" data-original-height="800" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgegvMd7Dt7Lp1rICya-DWgQckFdC7sYMePXnkp3bLynaGSqYHXA-MERWTaMByWzHECdS9Zz1mf7VaPG-IQyxAoKLS5LnPhf3JGTRNE-hB1jrdWBd-I7mW_PAk4fzJOwPbjA5M_MenABa6285IdnmUHWE1ZwAnvXIbHL6VfvDdmBXQqZOY6bzvngA8dDTy/s600/H.jpg"/></a></div><br />
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(iii) Cadmium orange.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfTV-iJK6HFf6VDeRUIqBeUuC0DeDrUhaZ0PX4ASZawpjHQTd4kPUmMvJA1K0d-2YZQVRMGIHmnzXtKo6zcEGwxPEfWqYCHxkeB05JfVpcoCvLDLULbo-8IkPEtXEuM6KpxnUEq2xiEBYBR2Xofbsg4zpoC9pyxgmWTGoBiRxjyBGhBLoYv4um4zBdLv-b/s296/I.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium orange" border="0" width="500" data-original-height="296" data-original-width="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfTV-iJK6HFf6VDeRUIqBeUuC0DeDrUhaZ0PX4ASZawpjHQTd4kPUmMvJA1K0d-2YZQVRMGIHmnzXtKo6zcEGwxPEfWqYCHxkeB05JfVpcoCvLDLULbo-8IkPEtXEuM6KpxnUEq2xiEBYBR2Xofbsg4zpoC9pyxgmWTGoBiRxjyBGhBLoYv4um4zBdLv-b/s600/I.jpg"/></a></div><br />
<br />
(iv) Mars yellow. Ochre. Transparent ochre. Raw Sienna.<br />
<br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyMYKJAkgJGs8QlNmG1HU9Mx40e-YbOc8X1jhWbqH6QsCsv-57PkynfbFA6WT5HUYUz8t2pod-YPMGXkJ4gpsFSGza983DttjynU06_H-MtekXTdgnjmxkvMPivm6NOIqAad3KyZQIkkmVATulRNWaUYFXfnobyZJ-glfW_8Ub00GQItzJJ-8L7LpLET-v/s956/J.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mars Yellow" border="0" width="500" data-original-height="778" data-original-width="956" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyMYKJAkgJGs8QlNmG1HU9Mx40e-YbOc8X1jhWbqH6QsCsv-57PkynfbFA6WT5HUYUz8t2pod-YPMGXkJ4gpsFSGza983DttjynU06_H-MtekXTdgnjmxkvMPivm6NOIqAad3KyZQIkkmVATulRNWaUYFXfnobyZJ-glfW_8Ub00GQItzJJ-8L7LpLET-v/s600/J.jpg"/></a></div><br />
<br />
(v) Cobalt yellow. Hansa yellow.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpwSO58QbSTXJkFYfSixmxzogc7NoEzpROJTGzQSOdJP0E6GwNa_62FH3IPDa8RKJ5arssT0BfaOJvaYD_OPPJQ533eC3fbpnFGGwLrgT8simxaGPolZvowMElkjG816m6X_HtqcxUT6tfrwo0f6CbTPTUC6WykM22UDbIJX_bp7ElTmwGWCT_r25N3SqO/s800/K.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="500" data-original-height="800" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpwSO58QbSTXJkFYfSixmxzogc7NoEzpROJTGzQSOdJP0E6GwNa_62FH3IPDa8RKJ5arssT0BfaOJvaYD_OPPJQ533eC3fbpnFGGwLrgT8simxaGPolZvowMElkjG816m6X_HtqcxUT6tfrwo0f6CbTPTUC6WykM22UDbIJX_bp7ElTmwGWCT_r25N3SqO/s600/K.jpg"/></a></div><br />
<br />
(vi) Strontium yellow.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-19ex3gsUvS-baKNZ1wQBJcss-7ftiy0-zwjJyfLrI03mcC424GFedxkGI-qQlK7i6mT8Xc58GuKp0xKIXiitBNx-tLDLNAqTt7SjaN_NCtU4lkG1A0OLXONZajC75icoxQjNgbVzUEMDAJvid4k3eVF4y5cukLPmCiN6aGbGsqxRFEoWI2_oYavIGYz3/s946/L.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="500" data-original-height="770" data-original-width="946" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-19ex3gsUvS-baKNZ1wQBJcss-7ftiy0-zwjJyfLrI03mcC424GFedxkGI-qQlK7i6mT8Xc58GuKp0xKIXiitBNx-tLDLNAqTt7SjaN_NCtU4lkG1A0OLXONZajC75icoxQjNgbVzUEMDAJvid4k3eVF4y5cukLPmCiN6aGbGsqxRFEoWI2_oYavIGYz3/s600/L.jpg"/></a></div><br />
<br />
<b>Blue</b><br />
(i) Ultramarine blue (all shades).<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuZzAJCm2ueTNsah-40oCXAVEkqylaasTy280j5Il6o7dIP4N96b-RsqhoEr_KVgeSIcIPRgvYz8-nn1YE9ee3MSqelWhpDWsuF5fgT6kcB79hIWAJq0mWmEvOVfBeM6lbibPKJYUJIe9xDYRzkgCgd0OsgLUbmkl2xddX38vmzjTNbX_DsuXLZegtH5i/s640/m.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Ultramarine Blue" border="0" width="500" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuZzAJCm2ueTNsah-40oCXAVEkqylaasTy280j5Il6o7dIP4N96b-RsqhoEr_KVgeSIcIPRgvYz8-nn1YE9ee3MSqelWhpDWsuF5fgT6kcB79hIWAJq0mWmEvOVfBeM6lbibPKJYUJIe9xDYRzkgCgd0OsgLUbmkl2xddX38vmzjTNbX_DsuXLZegtH5i/s600/m.jpg"/></a></div><br />
<br />
(ii) Cobalt blue.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd0HUt-1cADHgqhG7KLfLM-Ym5-4tslgJ2MYwlrGwB8fRJSno-aZzBBJ594SDleAquDzp4jhIToUUOwysk8ilAkTUorGsmTH16-F-u0xbRvBWVeeq0t2v86_rWzxcjGXZeltf8X1uTAT78JN4WV6GAX6VothJAagWMXBmvkx1xqwu-FQ-2q0ga_Fcc4jSD/s287/z.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cobalt Blue" border="0" height="500" data-original-height="287" data-original-width="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd0HUt-1cADHgqhG7KLfLM-Ym5-4tslgJ2MYwlrGwB8fRJSno-aZzBBJ594SDleAquDzp4jhIToUUOwysk8ilAkTUorGsmTH16-F-u0xbRvBWVeeq0t2v86_rWzxcjGXZeltf8X1uTAT78JN4WV6GAX6VothJAagWMXBmvkx1xqwu-FQ-2q0ga_Fcc4jSD/s600/z.jpg"/></a></div><br />
<br />
(iii) Cerulean blue. Manganese blue.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyuWKZdX4auUCN_58LsOSQpHc0Qzxvqzy5YRSsX3vYyjL8K4aLHs7TqJey2bCQvIgiVWUDgbRMagPImgjReUGJ6TtfFIO1qZdnKRDZBTH7NGRfBSMYqHgAYhhuwtaVKblangIi56N0e9WIwKNjP1D0NHQ9oaSjLqJ7GvBwX3Yki3E2kyCaSqTuQBF-zufe/s400/n.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cerulean Blue" border="0" width="500" data-original-height="400" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyuWKZdX4auUCN_58LsOSQpHc0Qzxvqzy5YRSsX3vYyjL8K4aLHs7TqJey2bCQvIgiVWUDgbRMagPImgjReUGJ6TtfFIO1qZdnKRDZBTH7NGRfBSMYqHgAYhhuwtaVKblangIi56N0e9WIwKNjP1D0NHQ9oaSjLqJ7GvBwX3Yki3E2kyCaSqTuQBF-zufe/s600/n.jpg"/></a></div><br />
<br />
<b>Green</b><br />
(i) Phthalocyanine green.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_LHQ-c7zGrYjg2TKbVpq_cdD9MVRTnO57NVLOBWnte2iv0_b50MR-VsV5jljDcubc2NNEArpnZC_Zl-UKvhDTL2jU5MQbC-eGFuAORb-3Ekmwp0QnXbNa6ybFbzeM5vAKUE2xIZN97VsN6HVghKrei0OZ-g-Cc5wT7onp7kLugU6rf1f4ffIBXTri2It/s800/0.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Phthalocynine Green" border="0" width="500" data-original-height="800" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_LHQ-c7zGrYjg2TKbVpq_cdD9MVRTnO57NVLOBWnte2iv0_b50MR-VsV5jljDcubc2NNEArpnZC_Zl-UKvhDTL2jU5MQbC-eGFuAORb-3Ekmwp0QnXbNa6ybFbzeM5vAKUE2xIZN97VsN6HVghKrei0OZ-g-Cc5wT7onp7kLugU6rf1f4ffIBXTri2It/s600/0.jpg"/></a></div><br />
<br />
(ii) Viridian<br />
<br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiuZBd967hAhMQZ1nK3lFd8S_Q847ZPYHvvsIzPKh82SfgWWNpsOBj7w3_Aq3xPz9VPp4IwWZfcA9s4kHGvby4r_a0TkHIMbOEn0SLd4ivQ6o0SvU4za4uXSc4RyrXfzBMCX_g1RG4w7A-45Uri8NBics-vpyhw5xmq3YXKXuPqXSis-UoVBWWItjcW9ku/s186/P.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Viridian" border="0" width="500" data-original-height="186" data-original-width="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiuZBd967hAhMQZ1nK3lFd8S_Q847ZPYHvvsIzPKh82SfgWWNpsOBj7w3_Aq3xPz9VPp4IwWZfcA9s4kHGvby4r_a0TkHIMbOEn0SLd4ivQ6o0SvU4za4uXSc4RyrXfzBMCX_g1RG4w7A-45Uri8NBics-vpyhw5xmq3YXKXuPqXSis-UoVBWWItjcW9ku/s600/P.jpg"/></a></div><br />
<br />
(iii) Chromium oxide.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_9cEBQMVHqFXMySxYIe5PwPtFUhnZbv-r8-u6ydM8KlmRd-wyTqxl3T95UmrCKD9W1RLJKqm4sGitGDdK2NbIoNjtc-dAMvrcTgNteSelDaU8oXfk52xSV96jTb_rYu9Gf3Law-c3pjJYPyiYL6oTn1JDmP9gNGiqibaL2Dt2LLDeOpm6yED7xCVQgfHY/s275/Q.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Chromium Oxide" border="0" width="500" data-original-height="183" data-original-width="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_9cEBQMVHqFXMySxYIe5PwPtFUhnZbv-r8-u6ydM8KlmRd-wyTqxl3T95UmrCKD9W1RLJKqm4sGitGDdK2NbIoNjtc-dAMvrcTgNteSelDaU8oXfk52xSV96jTb_rYu9Gf3Law-c3pjJYPyiYL6oTn1JDmP9gNGiqibaL2Dt2LLDeOpm6yED7xCVQgfHY/s600/Q.jpg"/></a></div><br />
<br />
(iv) Green earth.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVCegVPi-Cmk6P-urmMRLzvooidxSYHlZsCN8HDBleeBW3CbdrRrvbBifT6obCytFnFV3ucbGBucIsvHdLjIpsQzvaM9__axVG462jO3LzrrqujmJJYvD4rSyMF-KKj05NelxKe1Y_WMIiJO0ZY1ZkDHOBxTwEWb565hyphenhyphene_mUzD7DifaGb01KTQj_t4npL/s153/O.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Green earth" border="0" width="500" data-original-height="153" data-original-width="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVCegVPi-Cmk6P-urmMRLzvooidxSYHlZsCN8HDBleeBW3CbdrRrvbBifT6obCytFnFV3ucbGBucIsvHdLjIpsQzvaM9__axVG462jO3LzrrqujmJJYvD4rSyMF-KKj05NelxKe1Y_WMIiJO0ZY1ZkDHOBxTwEWb565hyphenhyphene_mUzD7DifaGb01KTQj_t4npL/s600/O.jpg"/></a></div><br />
<br />
(v) Cobalt, turquoise, and ultramarine greens.<br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwX8Hd59h5NmtKeLJrvpOYFbssWMleEHY-0Ux0ncYeeQKocg0S9q69104I5j34wowAZsJRqgATW4CiadVe4WrwsBPgD5hPNAf8yAcUynZ5A9bJiT1flBUx-qqIQyEpkM0XWalIULtLg-j2AOHs1TuwjSkrfPUrdM3PfSu6IZ96Elx2VhHf-a4jbbYEpcxA/s304/R.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Ultramarine Green" border="0" width="500" data-original-height="304" data-original-width="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwX8Hd59h5NmtKeLJrvpOYFbssWMleEHY-0Ux0ncYeeQKocg0S9q69104I5j34wowAZsJRqgATW4CiadVe4WrwsBPgD5hPNAf8yAcUynZ5A9bJiT1flBUx-qqIQyEpkM0XWalIULtLg-j2AOHs1TuwjSkrfPUrdM3PfSu6IZ96Elx2VhHf-a4jbbYEpcxA/s600/R.jpeg"/></a></div><br />
<br />
<b>Violet</b><br />
(i) Cobalt violet. Manganese violet.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKb3OST-ZUBSHJtC3qBasa6wKsqB63Hmko3OdHAdOOKXeiU73I6636MFHDGCmTTArITs9Vsg0XeUz56FWLXETrg7NRlBGdcUuCf8CAHa31-stBzJnPL-6sLxKsY4pAbz5L3MS9RqtRPWCxjDwJyrSV3VuvVcGxTFmzxFsNfTmmfDeLPnKX0o5X0smnA2rf/s378/s.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cobalt violet" border="0" height="600" data-original-height="378" data-original-width="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKb3OST-ZUBSHJtC3qBasa6wKsqB63Hmko3OdHAdOOKXeiU73I6636MFHDGCmTTArITs9Vsg0XeUz56FWLXETrg7NRlBGdcUuCf8CAHa31-stBzJnPL-6sLxKsY4pAbz5L3MS9RqtRPWCxjDwJyrSV3VuvVcGxTFmzxFsNfTmmfDeLPnKX0o5X0smnA2rf/s600/s.jpg"/></a></div><br />
<br />
(ii) Mars violet.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRLLrHV9haUumRrb_oHQCjWUAQvoF96ADXrZ13BGQv2y7vEgkL5Y5NPYvkG8wCTSTspaBMJ8uAzdKzMI5J0RyV0wCWU1yp1X8bayRYPL6opMoGJC-hzx_K9QrcPMp91Gqp3zGuRol08oCYZ44cYDEFptPzWCDVvGBPTD1xDViNxVO8f9WXGZjzVHnX56DA/s360/t.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mars Violet" border="0" width="500" data-original-height="270" data-original-width="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRLLrHV9haUumRrb_oHQCjWUAQvoF96ADXrZ13BGQv2y7vEgkL5Y5NPYvkG8wCTSTspaBMJ8uAzdKzMI5J0RyV0wCWU1yp1X8bayRYPL6opMoGJC-hzx_K9QrcPMp91Gqp3zGuRol08oCYZ44cYDEFptPzWCDVvGBPTD1xDViNxVO8f9WXGZjzVHnX56DA/s600/t.jpg"/></a></div><br />
<br />
<b>Brown</b><br />
(i) Raw umber.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LiEmUsWPfMy751kKNGmh2TTH3-YPQrckYZshfXz7IbXTPUmYAKj_DhyphenhyphenGKUkY2xWyQt-8AwpespPUpi-4jWq3J3vLL8oxqakuiP8pE9ZtrifvfoAOGDEM4ItvWnkPoMepURcljQJIjRPxMixaRlCntTZ0rq6I9mDcAkKZZfqYcOJ-q1hWK7igzaEB7soL/s280/u.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Raw Umber" border="0" width="500" data-original-height="280" data-original-width="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LiEmUsWPfMy751kKNGmh2TTH3-YPQrckYZshfXz7IbXTPUmYAKj_DhyphenhyphenGKUkY2xWyQt-8AwpespPUpi-4jWq3J3vLL8oxqakuiP8pE9ZtrifvfoAOGDEM4ItvWnkPoMepURcljQJIjRPxMixaRlCntTZ0rq6I9mDcAkKZZfqYcOJ-q1hWK7igzaEB7soL/s600/u.jpg"/></a></div><br />
<br />
(ii) Burnt umber.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1iggTYHkzUXkNh7f6HB9JpK2SQ6m3oIc-8V0KMSPE5FwftYQz_YNonchpCzsSHIyFjjw5EoMp721kQI4YUfETXIZNAEeDMnfF02QWUdkSZK0Sog07bwduK4w9Nk-vjr6hydTKrBBQ292Y1NT1VqEWnMhAwPGOjy3qF2XpJQmrWtCD_e-YXLiqOoAZgpz/s172/v.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="500" data-original-height="162" data-original-width="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1iggTYHkzUXkNh7f6HB9JpK2SQ6m3oIc-8V0KMSPE5FwftYQz_YNonchpCzsSHIyFjjw5EoMp721kQI4YUfETXIZNAEeDMnfF02QWUdkSZK0Sog07bwduK4w9Nk-vjr6hydTKrBBQ292Y1NT1VqEWnMhAwPGOjy3qF2XpJQmrWtCD_e-YXLiqOoAZgpz/s600/v.jpg"/></a></div><br />
<br />
(iii) Burnt sienna.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUi-eQXzDwxZ5k5arDaXty9ZqLGJZtUb2ZdjGqTPm94QYzn2ZAEqm780jPvB_InaiphqMqG7_KbuItL9Odi8AYNZlJxs5cf0lcUU8nv8jJPAzNhLSE7jK_yMlbA3ywGiWybtvhNuZETXWhDu_eQWUDEe-coEuK7kM_BATLcy0qD3PQZ-AcHWuCDm7hdqA_/s204/w.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Burnt sienna" border="0" width="500" data-original-height="192" data-original-width="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUi-eQXzDwxZ5k5arDaXty9ZqLGJZtUb2ZdjGqTPm94QYzn2ZAEqm780jPvB_InaiphqMqG7_KbuItL9Odi8AYNZlJxs5cf0lcUU8nv8jJPAzNhLSE7jK_yMlbA3ywGiWybtvhNuZETXWhDu_eQWUDEe-coEuK7kM_BATLcy0qD3PQZ-AcHWuCDm7hdqA_/s600/w.jpg"/></a></div><br />
<br />
(iv)Brown madder.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjId__ZJlOzCOwTFGUI1HvYoqG4yFfmOtwnbXHraQEOgCjJi-Gi4jsUXe30ShKcPSR8sY1s2Y9QHdGSOSelRBhdReaE7ua-eDG0ObAQGHzbN3Kaz-741xYr5CIA51H_Ot0IAwjbCA-CElJzDV2UWfZWhxKYNPggvn397tfCNz7WYFcCSlEd3wUdQ9bDCmFM/s800/x.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Brown Madder" border="0" width="500" data-original-height="800" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjId__ZJlOzCOwTFGUI1HvYoqG4yFfmOtwnbXHraQEOgCjJi-Gi4jsUXe30ShKcPSR8sY1s2Y9QHdGSOSelRBhdReaE7ua-eDG0ObAQGHzbN3Kaz-741xYr5CIA51H_Ot0IAwjbCA-CElJzDV2UWfZWhxKYNPggvn397tfCNz7WYFcCSlEd3wUdQ9bDCmFM/s600/x.jpeg"/></a></div><br />
<br />
(v) Burnt green earth.<br />
<br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIPHH47kmP3-TLsTThU18ydyYJNCbiB5ir09nFLLFlVJT1op6IMAMbrdP_V9Je0AVjHfRY2mQ3mRNNn4DiOTAWRGDQf2I1WifF6PoO8oMRcdvskhijYAYkPmLDqt5-72Ns21D-5YqzLLmPFezJiW5aShkKpQNCWoNThBC5xVoeS2S55V1G2Buplb6w1m-F/s196/y.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Burnt green earth" border="0" width="500" data-original-height="183" data-original-width="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIPHH47kmP3-TLsTThU18ydyYJNCbiB5ir09nFLLFlVJT1op6IMAMbrdP_V9Je0AVjHfRY2mQ3mRNNn4DiOTAWRGDQf2I1WifF6PoO8oMRcdvskhijYAYkPmLDqt5-72Ns21D-5YqzLLmPFezJiW5aShkKpQNCWoNThBC5xVoeS2S55V1G2Buplb6w1m-F/s600/y.jpg"/></a></div></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Conclusion:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">The weak or low tinctorial permanent colors, such as green earth, ultramarine ash, ultramarine violet etc., are more useful in water color than they are in oil, and some painters make continual use of them; but they are held to be unnecessary by the greater number of water-color painters.<br />
<br />
Some of the highest grades of Vandyke brown are light-fast; these may be used in water-color painting where bad properties of this color which have caused its failures in oil have no significance.<br />
<br />
Payne's gray, in the highest-grade prepared water colors, is a permanent pigment valued as a useful and convenient color by some painters, but considered unnecessay by others who prefer to make such mixtures in the palette.<br />
<br />
For gouache (opaque or impasto water color) the same palette is in use, but when used full strength the transparent pigments will function as body colors and exhibit their top tones. Their undertones will be brought out when they are mixed with a considerable amount of whites, but the color effects of several will be different from those they exhibit in transparent water color.<br />
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Cobalt violet often contains arsenic and should be considered poisonous; some of the other chemical colors are not without a harmful effect. In working with a water color, one must not moisten brushes with your mouth. Special care should be taken in the selection of pigments for children's use.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).</span>
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</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-58629638007020986232023-12-23T07:00:00.533+11:002024-01-09T10:48:15.362+11:00Media and SocietyArt EssayMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Living with pandemics has become our new reality. As the human population explodes, poor people in third world countries will continue to live in slums and so they can never socially distance themselves, thereby providing a perfect breeding ground for new variants or new viruses. Moreover, we have never been more mobile in human history.<br />
<br />
In Australia, if we bring in food or plants from other countries, border security confiscates them. However, we are free to bring in any virus. Go figure!<br />
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All is not doom and gloom. The first known clinical description of polio, by British doctor Michael Underwood, was not identified until 1789, and it was formally recognized as a condition in 1840 by German physician Jakob Heine. Physician Jonas Salk tested his experimental vaccine on himself and his family in 1953. The results were announced on 12 April 1955, and Salk’s inactivated polio vaccine (IPV) was licensed on the same day.<br />
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SARS-CoV-2, the virus that causes COVID-19, was first identified in December 2019. By December 11, 2020, the Pfizer vaccine became the first to receive an emergency use authorization from the Food and Drug Administration (FDA). Nowadays, science is more sophisticated. No vaccine in history was so rapidly developed as this vaccine!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1bLyRFzzhruy2Xi95wYXd2sAQoMvYKJm4yYlUBR-dHbw3OzCTYP026MEWfqmSgsAEdxvwfCm-cJ3RmWu995NhzQb-d5EPAGv1LxxfFKZUo-WpPlm9v-_oq8kiyLBFcIPTGWdRbw9IzI-z9iXsX3mRPiefFQh9pV7TnNqxCb6uSf2IWk_utP3jDzLf2A/s892/1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Santa's Little Helper" border="0" width="500" data-original-height="669" data-original-width="892" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1bLyRFzzhruy2Xi95wYXd2sAQoMvYKJm4yYlUBR-dHbw3OzCTYP026MEWfqmSgsAEdxvwfCm-cJ3RmWu995NhzQb-d5EPAGv1LxxfFKZUo-WpPlm9v-_oq8kiyLBFcIPTGWdRbw9IzI-z9iXsX3mRPiefFQh9pV7TnNqxCb6uSf2IWk_utP3jDzLf2A/s600/1.jpg"/></a></div>
Santa's little helper!<br />
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No matter what your belief systems, I wish you a happy and joyous festive season.<br />
With best wishes,<br />
Marie-Therese.<br />
<b>Note: The next post will appear on the 13th of January 2024.</b></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Media and Society</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">The first commonly accepted newspaper was the German-language 'Relation aller Fürnemmen und gedenckwürdigen Historien', printed from 1605 onwards by Johann Carolus in Strasbourg (then Germany now France).<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo4NEpsB-lt4krwv8flxbQv1r5ThVtUgQtBcQbJpdM28ocuni2LKuLVWN0N3EgIzmo3TUGF11yfzE1lFw0FhsjGnsFU324OuXev7H2bQUOl6WjES-TJ9TZ86U07a08ziv7Tfff0xNbdFec19at6evhm7IkrdwM95WfTmyqhNvY9N5PGsflC48TdxLL6g/s482/2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="World's First Newspaper" border="0" height="600" data-original-height="482" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo4NEpsB-lt4krwv8flxbQv1r5ThVtUgQtBcQbJpdM28ocuni2LKuLVWN0N3EgIzmo3TUGF11yfzE1lFw0FhsjGnsFU324OuXev7H2bQUOl6WjES-TJ9TZ86U07a08ziv7Tfff0xNbdFec19at6evhm7IkrdwM95WfTmyqhNvY9N5PGsflC48TdxLL6g/s600/2.jpg"/></a></div>
A 1609 title page of the German Relation, the world's first newspaper (first published in 1605).<br />
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The earliest magazine appears to have been the German Erbauliche Monaths-Unterredungen (1663–68); “Edifying Monthly Discussions,” started by Johann Rist, a theologian and poet of Hamburg.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfoHNUeFlr_aDGUvPHK2rC2ITQq2djsIPim9UaQCe3f5hf07Z0y8scZjfffRJVl-QbbImLEcOuWFGG9TCFwuavM4AEp8V_mb_nz2zv3ZAMCR60YKADVF2gHHD59OpTzPFCCD75DZRngOpEFgcMcs6HsviIil4xh-sLC6r1Pv_E_4GHalTgFOb_k9Wew/s1769/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="World's First Magazine" border="0" height="600" data-original-height="1769" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPfoHNUeFlr_aDGUvPHK2rC2ITQq2djsIPim9UaQCe3f5hf07Z0y8scZjfffRJVl-QbbImLEcOuWFGG9TCFwuavM4AEp8V_mb_nz2zv3ZAMCR60YKADVF2gHHD59OpTzPFCCD75DZRngOpEFgcMcs6HsviIil4xh-sLC6r1Pv_E_4GHalTgFOb_k9Wew/s600/3.jpg"/></a></div><br />
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It is clear that as these information outlets developed, they became more specialized in content and in audience capture. For example, the Woman's Weekly was geared towards the interests of adult middle class Australian housewives.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip0e_4tX5CxSEn6dYW8YdGsH3TNptDKHBfQXJspG8kTqt85BGceTRYTRyQwpYxlmkGIIi7oQYjuXEtfW8xhp6BgqVcJFhVWfrKiBHAXdtYTXIIH3TCE1L8s5W6JVpc1Efy4FYtdAfp1Wf9Qz1NxtrDFKYuZZPyLEisYV0gjZk-E2BBkmB6d_sPXiH-8Q/s972/4.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Womwn's Weekly (First Edition)" border="0" height="600" data-original-height="972" data-original-width="736" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip0e_4tX5CxSEn6dYW8YdGsH3TNptDKHBfQXJspG8kTqt85BGceTRYTRyQwpYxlmkGIIi7oQYjuXEtfW8xhp6BgqVcJFhVWfrKiBHAXdtYTXIIH3TCE1L8s5W6JVpc1Efy4FYtdAfp1Wf9Qz1NxtrDFKYuZZPyLEisYV0gjZk-E2BBkmB6d_sPXiH-8Q/s600/4.jpg"/></a></div>
The Woman's Weekly (Australian magazine) Volume 1 Number 1 November 4th 1911 Paperback.<br />
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On 13 May 1897, Guglielmo Marconi sent the world's first radio message across open water, and he did it while visiting a seaside resort in Somerset (England).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggZ6JmjCNTldJDgo4B_1164tPcfHXfzyrrYdgjx1a2mWGBxUdtvK0gXzkfZG1UvFA3Fu6J5FHrUKoWG65CvHnxLvygFuGAIKjev_zCZQEb85mwPxwuNTLU2WLGMNWEwL6qDvN-u6F8y2XxRgFMWEF6Is5dXJm57XaO1qynr0gUB9uJ_niOgQmYML3U5w/s976/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Marconi" border="0" width="500" data-original-height="549" data-original-width="976" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggZ6JmjCNTldJDgo4B_1164tPcfHXfzyrrYdgjx1a2mWGBxUdtvK0gXzkfZG1UvFA3Fu6J5FHrUKoWG65CvHnxLvygFuGAIKjev_zCZQEb85mwPxwuNTLU2WLGMNWEwL6qDvN-u6F8y2XxRgFMWEF6Is5dXJm57XaO1qynr0gUB9uJ_niOgQmYML3U5w/s600/5.jpg"/></a></div><br />
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Marconi's radios were designed to appeal to the mass-market rather than to wireless amateurs who built complicated sets for themselves. It became more of a pastime for the whole family. You could hear news reports from all over the country as well as the world, without waiting for a newspaper. It was so revolutionary. Hence broadcast programs were aimed at a wide range of audience demographics - from children to teenagers to adults to seniors.<br />
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Films provided another source of information (e.g., newsreels) and entertainment as well as advertising. French inventor, Louis Le Prince invented the first motion picture camera in the 1880s. He shot several short films in Leeds, England in 1888. While travelling in France, he unexpectedly disappeared right before he was to show his work in New York in 1890. This event never happened and so his contribution was lost in history for quite some time.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2YG4U8otb0OXEEs4hWyMUwpnNbf8N5v_1kAbrOYVkwjOpBmscNwMAAgrsoo7Yz1vUD1PlimSnkRWNcNb1j_wo_5Jt05tMFO8scdjW3642ip11hc3uy_-eo5yPhcEdQIuf193fA5sQIKNuPc24lecv_JCKyctbWvrjix0iCzKN6ZgRj6W0BfL9ECUOMQ/s750/7.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Louis Le Prince" border="0" width="500" data-original-height="515" data-original-width="750" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2YG4U8otb0OXEEs4hWyMUwpnNbf8N5v_1kAbrOYVkwjOpBmscNwMAAgrsoo7Yz1vUD1PlimSnkRWNcNb1j_wo_5Jt05tMFO8scdjW3642ip11hc3uy_-eo5yPhcEdQIuf193fA5sQIKNuPc24lecv_JCKyctbWvrjix0iCzKN6ZgRj6W0BfL9ECUOMQ/s600/7.jpg"/></a></div>
Louis Le Prince: The father of cinematography.<br />
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In 1927 Philo Farnsworth patented his 'dissector tube.' It turns out to be an important component in the development of all-electronic television sets. Television's first drama,The Queen's Messenger, was broadcast from Schenectady, New York station WGY on September 11, 1928.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKm0j3clUx9gFTMUXHm5zLNBX5FPCha40qhKDZU2B4uRUPXkFzEsOTFJLfXQoHWROWgaigvHR0qsf_vYgyDW7K0YobkRuVtjOy-G8iWlS1ZTredA3VfYoOEMypyAMcRyLFh1kLFU7vfThkrerhExlEmhIwKZNxJy-Ulmu3RJXNxwC2H8H94wkxnUsv7Q/s228/8.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Philo Farnsworth" border="0" width="500" data-original-height="158" data-original-width="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKm0j3clUx9gFTMUXHm5zLNBX5FPCha40qhKDZU2B4uRUPXkFzEsOTFJLfXQoHWROWgaigvHR0qsf_vYgyDW7K0YobkRuVtjOy-G8iWlS1ZTredA3VfYoOEMypyAMcRyLFh1kLFU7vfThkrerhExlEmhIwKZNxJy-Ulmu3RJXNxwC2H8H94wkxnUsv7Q/s600/8.jpg"/></a></div>
Philo Taylor Farnsworth (August 19, 1906 – March 11, 1971) was an American inventor and television pioneer.<br />
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What did these media outlets have in common? They were public and/or private companies whose output were scripted, edited and focussed on an audience demographic. They were structured from a personnel and organizational point of view and so incurred significant costs. Hence, within several decades, Massachusetts alone, had some thirty newspapers, which later became defunct - from the Boston Chronicle to the Weekly Journal (East Freetown) etc.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8jdCE-EPDXEsN51J5lXHBw5RcAVizXiWgcyp4xW_0Tsk_GZk-0KwGxZK-Kzx7RuypUqgEiyyMTIgxuKraf2AZoX0Adq7YoqT52-0BvBNZqeByStDGPqi1zqssB3pIHwZOeqUfUUawwLdi7-RqAdG1NX5MfOKTA7Yf9YupCOK6xID153xTwnF14rRnSw/s516/9.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="Boston Chronicle" border="0" height="600" data-original-height="516" data-original-width="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8jdCE-EPDXEsN51J5lXHBw5RcAVizXiWgcyp4xW_0Tsk_GZk-0KwGxZK-Kzx7RuypUqgEiyyMTIgxuKraf2AZoX0Adq7YoqT52-0BvBNZqeByStDGPqi1zqssB3pIHwZOeqUfUUawwLdi7-RqAdG1NX5MfOKTA7Yf9YupCOK6xID153xTwnF14rRnSw/s600/9.png"/></a></div>
Boston Chronicle (Volume 1, Issue no. 3, Dec 28, 1767).<br />
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On October 29, 1969, ARPAnet delivered its first message: a “node-to-node” communication from one computer to another. The first computer was located in a research lab at UCLA and the second was at Stanford; each one was the size of a small house. The internet had arrived and with it the democratization of information exchange was created and had begun.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhS_Ujl5e15hFm8ALsblEyS8OQV9UeTCG5tav09J4Q6iMgtFxJBVEu-hHDPgr2VMS20YJ7K_bWW17rqJM8iXdc8RpRUklrC5lv0D5RYbcHx_ofkWw2JJbXPHvZgLzPI05gUmCygVEs6FWSVhU5yBcIDgYPo9TnW_QO09ilWZPlX0SY023e_0mpD0XdA/s1200/10.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Internet Technology" border="0" width="500" data-original-height="628" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghhS_Ujl5e15hFm8ALsblEyS8OQV9UeTCG5tav09J4Q6iMgtFxJBVEu-hHDPgr2VMS20YJ7K_bWW17rqJM8iXdc8RpRUklrC5lv0D5RYbcHx_ofkWw2JJbXPHvZgLzPI05gUmCygVEs6FWSVhU5yBcIDgYPo9TnW_QO09ilWZPlX0SY023e_0mpD0XdA/s600/10.jpg"/></a></div>
Internet technology was first developed in the USA. The Department of Defense Advanced Research Projects Agency (or DARPA) led to the formation of the Advanced Research Projects Agency Network (ARPANET) in October 1969. ARPANET is the technology that we today know as the Internet. In the beginning, ARPANET was only accessible to the selected members of the Defense Department. So, eventually, other networks were created to enable sharing of information.<br />
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Social media companies captured the popular information platform market. The Digital 2022 April Global Statshot Report found that there were 4.65 billion social media users on our planet. That’s 58.7% of the global population, many of whom are using social media as a primary source of information. From news (and disinformation) to lifestyle tips, decision-making to product research, social media users can gather all the information that they need, without ever leaving their platform of choice.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1nOpbjeKFkdAkpauQ3NidJCqbmSZ0dXnNfs5O4BwRA0NQzvZEMQ99JDZnvEsCzRsMbZeSbX6fSmaHaRcD0vChjHIvZRNbHUI6LjbaI_j4AA9208VAGbA0VcBP8r_RyAMrmd4z6TnnS9ckq6ChwnqZPgto8zIBhR9kDYcWyvG4JEvA4Mv1U-ONNKRZ1A/s1828/11.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Social Media Outlets" border="0" height="600" data-original-height="1828" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1nOpbjeKFkdAkpauQ3NidJCqbmSZ0dXnNfs5O4BwRA0NQzvZEMQ99JDZnvEsCzRsMbZeSbX6fSmaHaRcD0vChjHIvZRNbHUI6LjbaI_j4AA9208VAGbA0VcBP8r_RyAMrmd4z6TnnS9ckq6ChwnqZPgto8zIBhR9kDYcWyvG4JEvA4Mv1U-ONNKRZ1A/s600/11.jpg"/></a></div><br />
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By and large the media companies running these sites have taken a hands off approach. Ex-President Donald Trump's use of Twitter (now X) to spread falsehoods is legendary. Eventually US President Donald Trump's Twitter account was "permanently suspended... due to the risk of further incitement of violence", the company asserted. Twitter said the decision was made "...after close review of recent Tweets from the @realDonaldTrump account". It came amid a Big Tech purge of the online platforms used by Mr. Trump and his supporters.<br />
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The account, which Twitter banned following the January 6 (2021) attack on the Capitol, was restored after Twitter CEO and new owner Elon Musk posted a poll on Twitter on Friday night asking the platform’s users if Trump should be reinstated.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR57zOReW8KUf-zvxbbT_8aTtVdoyPH2oVoBp1XChEkPLlX4zQyYn8Mb7bqWikpPWKtz2uVELWZsj58ZFbpsjNndnI9BDynmmVnKpowpLORpGx57f_yt01qRylyk_Cbhz7UvIEd2TNztyKgdC1XtIRVLd97CIgrSiGSLXs--m9fUWC-0fXU1utoSjL9Q/s1556/12.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Twitter" border="0" width="400" data-original-height="874" data-original-width="1556" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR57zOReW8KUf-zvxbbT_8aTtVdoyPH2oVoBp1XChEkPLlX4zQyYn8Mb7bqWikpPWKtz2uVELWZsj58ZFbpsjNndnI9BDynmmVnKpowpLORpGx57f_yt01qRylyk_Cbhz7UvIEd2TNztyKgdC1XtIRVLd97CIgrSiGSLXs--m9fUWC-0fXU1utoSjL9Q/s400/12.jpg"/></a></div><br />
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Suddenly new descriptors were invented for people's unedited insults. A 'troll' is Internet slang for a person who intentionally tries to instigate conflict, hostility, or arguments in an online social community. Platforms targeted by trolls can include the comment sections of YouTube, forums, or chat rooms.<br />
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Trolls often use inflammatory messages to provoke emotional responses from people disrupting otherwise civil discussion. Trolling can occur anywhere on open forums where people can freely post their thoughts and opinions.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-cE6yCNeTU9ekFBibYXC5kFnk3xcU2Q7dHpwSNt57BQNiPDinZmJIMNwpQ3w9qx_IQqMIAmM7T7GBRy-F1wmEoCGzcworkUb3mMD9w3mB9Rha2x7SU_pSkj0CeoeUdQK-FHiSJE5YKiM0HNEZG4r8zPVGRW150ymKu1XR-sltPicb6_c_4lNZq2Y6DA/s290/13.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Trolls" border="0" width="500" data-original-height="272" data-original-width="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-cE6yCNeTU9ekFBibYXC5kFnk3xcU2Q7dHpwSNt57BQNiPDinZmJIMNwpQ3w9qx_IQqMIAmM7T7GBRy-F1wmEoCGzcworkUb3mMD9w3mB9Rha2x7SU_pSkj0CeoeUdQK-FHiSJE5YKiM0HNEZG4r8zPVGRW150ymKu1XR-sltPicb6_c_4lNZq2Y6DA/s600/13.jpg"/></a></div>
'Trolls' painted by John Bauer(1915).<br />
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Some of those who were targeted by so called trolls committed suicide whilst others were psychologically damaged (but for what purpose?)<br />
<br />
Now there are lots of different forums on the internet where one can express oneself. In fact, a new category of internet users has recently appeared. These are the 'Influencers.' Generally, they are defined as follows: 'In social media influencers are people who have built a reputation for their knowledge and expertise on a specific topic. They make regular posts about topics on their preferred social media channels and generate large followings of enthusiastic, engaged people who pay close attention to their views.'<br />
<br />
Some might question whether they have the knowledge or expertise that they claim. For example, anti-vaxxers never are able to publish their findings in internationally refereed medical journals of high repute. Is it because their views are unscientific?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDlq8FeuSoue64KFF4N3MYgwYYyRNe8hNgsMmQDBSHHKjzeXIYfpbLUdXGD_qMzfGz1UGcpXtC6cVwRgPYpibsPvWVEC6HaKObGHeoPGUEk9FKou7b8f44wpZpJEOQOnCt2FHwgpKrXngYFyb4Y0yK-RF_6ju12zIkxuLMJGJqe6oFGHoHAShGX5bwg/s1581/14.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Flat Earthers" border="0" width="500" data-original-height="1054" data-original-width="1581" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDlq8FeuSoue64KFF4N3MYgwYYyRNe8hNgsMmQDBSHHKjzeXIYfpbLUdXGD_qMzfGz1UGcpXtC6cVwRgPYpibsPvWVEC6HaKObGHeoPGUEk9FKou7b8f44wpZpJEOQOnCt2FHwgpKrXngYFyb4Y0yK-RF_6ju12zIkxuLMJGJqe6oFGHoHAShGX5bwg/s600/14.jpg"/></a></div>
Flat Earth: How a 19th-Century meme turned Into TikTok’s strangest conspiracy theory.<br />
Author Kelly Wiell talked to flat-earthers and discovered how conspiracy theories really took off on a whole new level thanks to YouTube and TikTok.</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Conclusion</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Every platform can be used for good, evil or indifference. It often reflects who we are, rather than what we actually know.<br />
<br />
Confucius said, 'Real knowledge is to know the extent of one's ignorance.'<br />
We are blessed if we embrace and understand his wisdom.</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-38022351352117163022023-12-16T07:00:00.189+11:002023-12-16T10:57:41.890+11:00African Stitch ResistArtClothMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">For your convenience I have listed below other posts in this series:<br />
<a href="https://artquill.blogspot.com/2020/02/diversity-of-african-textiles1-artcloth.html">Diversity of African Textiles</a><br />
<a href="https://artquill.blogspot.com/2020/04/african-textiles-west-africa1-artcloth.html">African Textiles: West Africa</a><br />
<a href="https://artquill.blogspot.com/2020/06/stripweaves-west-africa-part-i1.html">Stripweaves (West Africa) - Part I</a><br />
<a href="https://artquill.blogspot.com/2020/08/stripweaves-west-africa-part-ii1.html">Stripweaves (West Africa) - Part II</a><br />
<a href="https://artquill.blogspot.com/2020/09/stripweaves-west-africa-part-iii1.html">Stripweaves (West Africa) - Part III</a><br />
<a href="https://artquill.blogspot.com/2020/11/stripweaves-west-africa-part-iv1.html">Stripweaves (West Africa) - Part IV</a><br />
<a href="https://artquill.blogspot.com/2021/02/djerma-weaving-of-niger-and-burkina.html">Djerma Weaving of Niger and Burkina-Faso</a><br />
<a href="https://artquill.blogspot.com/2021/05/woolen-stripweaves-of-niger-bend.html">Woolen Stripweaves of the Niger Bend</a><br />
<a href="https://artquill.blogspot.com/2021/09/nigerian-horizontal-loom-weaving.html">Nigerian Horizontal - Loom Weaving</a><br />
<a href="https://artquill.blogspot.com/2021/11/yoruba-lace-weave-artcloth-marie.html">Yoruba Lace Weave</a><br />
<a href="https://artquill.blogspot.com/2022/04/nigerian-womens-vertical-looms-1.html">Nigerian Women's Vertical Looms</a><br />
<a href="https://artquill.blogspot.com/2022/08/the-supplementary-weft-cloths-of-ijebu.html">The Supplementary Weft Cloths of Ijebu-Ode and Akwete</a><br />
<a href="https://artquill.blogspot.com/2022/12/african-tie-and-dye-1-artcloth-marie.html">African Tie and Dye</a><br />
<a href="https://artquill.blogspot.com/2023/08/tie-and-dye-of-dida-ivory-coast.html">Tie and Dye of the Dida, Ivory Coast</a><br />
<a href="https://artquill.blogspot.com/2023/12/african-stitch-resist-artcloth-marie.html">African Stitch Resist</a></span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>African Stitch Resist</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">One common method of preventing the dye reaching the cloth is to stitch the cloth - with running stitch or oversewing stitches - by hand or machine - with strong thread, which is then pulled tight, so that the cloth compresses and resists the dye. The cloth that is to be dyed is normally first doubled up or pleated, to create a symmetrical pattern and also to reduce the amount of work involved. Raphia thread is usually used, as it is strong (and so unlikely to break when pulled tight and also easy to snip off after dyeing). When the stitches are removed with a sharp blade and the cloth opened, the pattern is revealed in the negative. Patterns vary from simple arrowheads to more complex designs if the cloth is pleated before sewing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7d-1GfLUltwmv_ZC9ClLteQ8Bn0BZhf5J9p1oH1Fucv_iTc-58iS2gEdflQFsAPa_cWN9ysn_aQxBr3E_01eGN3PGVfG1QAH0GPZpxH6IVbzE8-zSC2BuPGhmnDntoevknmndudcR-asWnfYsgs14Or2Cdoffbo85XApik4uRrCg_7PR6Luu3Td6wLg/s137/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Motif of embroidered resist from St Louis" border="0" data-original-height="137" data-original-width="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7d-1GfLUltwmv_ZC9ClLteQ8Bn0BZhf5J9p1oH1Fucv_iTc-58iS2gEdflQFsAPa_cWN9ysn_aQxBr3E_01eGN3PGVfG1QAH0GPZpxH6IVbzE8-zSC2BuPGhmnDntoevknmndudcR-asWnfYsgs14Or2Cdoffbo85XApik4uRrCg_7PR6Luu3Td6wLg/s600/1.jpeg"/></a></div>
Motif of embroidered resist from St. Louis, Senegal indigo-dyed cloth. The motif is derived from <i>Pano d'Obra</i> trade cloths from Guinea and the Cape Verde islands.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_cjgmkC1OaiouI9jvz3FU9uzaMC1GSDBEF-s5UrAuA4hZVQ86_-62telv2LkENwYvzHjcYaJTsebSk0BfJXl9QXqVYSWMzBx1o0XroP3W1FUdaadpCAUvLSOHwyFt2dW8jkwFw42zeoiLl4hDUuN7Y-i7-o0B2GALt7W5W35aFxt1kjO99XE7s6FVBA/s469/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Dogon woman's indigo-dyed stitch-resist cloth from Mali" border="0" width="469" data-original-height="342" data-original-width="469" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_cjgmkC1OaiouI9jvz3FU9uzaMC1GSDBEF-s5UrAuA4hZVQ86_-62telv2LkENwYvzHjcYaJTsebSk0BfJXl9QXqVYSWMzBx1o0XroP3W1FUdaadpCAUvLSOHwyFt2dW8jkwFw42zeoiLl4hDUuN7Y-i7-o0B2GALt7W5W35aFxt1kjO99XE7s6FVBA/s600/2.jpeg"/></a></div>
Dogon woman's indigo-dyed stitch-resist cloth from Mali. The embroidery is a phrase from a popular song.<br />
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The most complex of all stitched-resist work was practised at St. Louis on the Senegal river boarding Mauritania. Before the Second World War, complex cotton resists of Moorish or <i>Pano d'Obra</i> inspiration were embroidered onto cotton cloth before indigo dyeing. The resist stitching in the St. Louis textiles was always of cotton. It was so fine that it could be truly classed as embroidery.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimLzy_Wn8oddNr7pgCmhvQuqcGkcl_-FohWtzsalX_WWQa43zrSUdf_H2K7Sn6xEbX9eF2ET51NUROflLK3CVPvgKuHSnoe7xaTpNAM9I6unWMD2XHM1U91wPooTgjvM2-skG8qdxxmc2z_kRk14raaMNWktCt0HVBEvnAyx6yCZygf5Wz_J4g0pWb5g/s648/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Dogon indigo-dyed sitched-resist cloth from Mali" border="0" width="500" data-original-height="410" data-original-width="648" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimLzy_Wn8oddNr7pgCmhvQuqcGkcl_-FohWtzsalX_WWQa43zrSUdf_H2K7Sn6xEbX9eF2ET51NUROflLK3CVPvgKuHSnoe7xaTpNAM9I6unWMD2XHM1U91wPooTgjvM2-skG8qdxxmc2z_kRk14raaMNWktCt0HVBEvnAyx6yCZygf5Wz_J4g0pWb5g/s600/3.jpeg"/></a></div>
Dogon indigo-dyed stitched-resist cloth from Mali.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu0IjwvHa3gHXcX0lPS40HHv3WW5BmbbKmBOHnTCwlCNKPOi_ydo4oP58ydTpBoRn5qCcb1xxD0CesUDGMQbdqAvq34si9J7trv5KMB7TxLV20vTWRIfvhpSldAEnvGSYwmlis-IcmsNKPq5HvLc-7pQa44vqSjA7_6bVbrmtQpp9us_Hc3f76XiH2Qw/s610/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Ukara resist-sewn cloth" border="0" width="500" data-original-height="383" data-original-width="610" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu0IjwvHa3gHXcX0lPS40HHv3WW5BmbbKmBOHnTCwlCNKPOi_ydo4oP58ydTpBoRn5qCcb1xxD0CesUDGMQbdqAvq34si9J7trv5KMB7TxLV20vTWRIfvhpSldAEnvGSYwmlis-IcmsNKPq5HvLc-7pQa44vqSjA7_6bVbrmtQpp9us_Hc3f76XiH2Qw/s600/4.jpeg"/></a></div>
<i>Ukara</i> resist-sewn cloth of the Leopard Society of Cross River, South-Eastern Nigeria.<br />
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The task of unpicking the St. Louis stitching, carried out with razor blades (first brought back from Flanders by Senegalese soldiers serving in the First World War), was painstaking, far harder than the work involved with raphia resists, which can be easily snipped with a sharp instrument.<br />
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The resulting textiles are unrivalled in their complexity and beauty. The art has been revived in St. Louis in recent years using synthetic brown and blue dyes, but they cannot compare with the outstanding originals.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6KjVnVysDVc5Rkn8O4aDPnfx9CqpOKnm3_V-nNmN4L7NNGAvNTJcyt0cXw9qM99gAw3A80fNksRkZYOc-jwGdOFiuIZb1luAFDriFIUDuEejg8T-gqDUYnkHvDumUod1XNmp_HN_DrtNmqK8yel5ji8y7BqBeV-4uxAlzNR1FZeiehXUMR3qlODHkTA/s898/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Machine-stitch resist indigo-dyed cotton cloth" border="0" height="600" data-original-height="898" data-original-width="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6KjVnVysDVc5Rkn8O4aDPnfx9CqpOKnm3_V-nNmN4L7NNGAvNTJcyt0cXw9qM99gAw3A80fNksRkZYOc-jwGdOFiuIZb1luAFDriFIUDuEejg8T-gqDUYnkHvDumUod1XNmp_HN_DrtNmqK8yel5ji8y7BqBeV-4uxAlzNR1FZeiehXUMR3qlODHkTA/s600/5.jpg"/></a></div>
Yoruba "Adire Alabere" machine-stitch resist indigo-dyed cotton cloth.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBlm4wLuIZ1jfV1pwc7ZwWa9C3LHDsGV9kgDkSmAQbBmLbaBYbZ-Kc5M3U0vxR01BGyFiYWY7qVQGy9Y95P6haEiXdgMQpWlD7s73kYa5aJ2m65H25tlPX3lk8mKc-6HB1VwXx32DMtJxkOVo6Diw81rULrtXb71ctva_h9-oSV2AKtZDR21Q3Qey7Cg/s1974/6.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Machine-stitch resist indigo-dyed cotton cloth" border="0" height="1000" data-original-height="1974" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBlm4wLuIZ1jfV1pwc7ZwWa9C3LHDsGV9kgDkSmAQbBmLbaBYbZ-Kc5M3U0vxR01BGyFiYWY7qVQGy9Y95P6haEiXdgMQpWlD7s73kYa5aJ2m65H25tlPX3lk8mKc-6HB1VwXx32DMtJxkOVo6Diw81rULrtXb71ctva_h9-oSV2AKtZDR21Q3Qey7Cg/s600/6.jpg"/></a></div>
Yoruba "Adire Alabere" machine-stitch resist indigo-dyed cotton cloth (Detail).</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] J. Gillow, African Textiles, Thames & Hudson Ltd, London (2003).</span>
</div>
</div> Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-64720674422231678862023-12-09T07:00:00.234+11:002023-12-09T15:56:01.344+11:00Silk Designs of James Leman [1]Artist ProfileMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">For your convenience I have listed below other post in this series:<br />
<a href="https://artquill.blogspot.com/search?q=Silk+designs+of+the+eighteenth">Silk Designs of the 18th Century</a><br />
<a href="https://artquill.blogspot.com.au/2014/02/woven-textile-designs-in-britain-1750.html">Woven Textile Designs In Britain (1750 to 1763)</a><br />
<a href="https://artquill.blogspot.com.au/2014/07/woven-textile-designs-in-britain-1764.html">Woven Textile Designs in Britain (1764 to 1789)</a><br />
<a href="https://artquill.blogspot.com.au/2015/04/woven-textiles-designs-in-britain-1790.html">Woven Textile Designs in Britain (1790 to 1825)</a><br />
<a href="https://artquill.blogspot.com.au/2015/11/19-th-silk-shawls-from-spitafields.html">19th Century Silk Shawls from Spitalfields</a><br />
<a href="https://artquill.blogspot.com/2023/04/silk-designs-of-joseph-dandridge-1.html">Silk Designs of Joseph Dandridge</a><br />
<a href="https://artquill.blogspot.com/2023/12/silk-designs-of-james-leman-1-artist.html">Silk Designs of James Leman</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Silk Designs of James Leman [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">James Leman was born into a weaving family, of Huguenot descent. His father, Peter, had been admitted to the London Weavers' Company in 1674, and was described as 'natif de Cantorbury'; he may have been descended from the Leman family who are recorded as coming to Canterbury from Tourcoing to escape religious persecution in the late 16th century. James Leman was born ca. 1688, and apprenticed in 1702 to his father, the family by now living at Stewart Street, in Spitalfields.<br />
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Leman trained as a designer as well as a manufacturer, very unusual for the English industry. Smith's 'Laboratory or School of Arts' (1756 edition) records that every Lyon manufacturer thus qualified, as was the late ingenious Mr. Leman in this time.' The museum's earliest designs by him are dated 1765, just four years from the start of his apprenticeship. Some are inscribed, 'For my father, Peter Leman, by me, James Leman.' In 1711 he was admitted as 'For[eign] Master' to the Weavers' Company, and on his father's death in 1712 he took over the family business.<br />
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As well as producing his own accomplished silk designs, Leman engaged other designers to supply him, including Christopher Baudouin (see previous post) and Josephh Dandridge (see previous post), both well known in their day. The latest designs known to be by Leman are dated 1722, but there is no reason to believe he gave up this side of his profession after that time. Part of the canopy used at George II's Coronation in 1727, now in the Victoria and Albert's collection, was supplied by the mercer George Binckes, known to have bought designs from Leman; it is very similar in style to his work and may have been designed by him.<br />
<br />
Leman rose to high office in the Weavers' Company, becoming a Liveryman and member of the Court of Assistants; in 1731 he was elected Renter Bailiff, second-in-command in the Company. He was clearly an energetic and capable man, actively involved on a number of Committees working for Weavers' Company interests, and in the year of his death, 1745, he helped organize the campaign being launched against the sellers and wearers of printed calico.<br />
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James Leman was talented in a number of fields, and the diversity of his interests is revealed by his will: '...my paintings, drawings and all my collection of prints, my reading books, my music and picture books and my collection of copy books, my musical and my mathematical instruments of all sorts, my collection of reptiles in spirits, my collection of medals and coins, with several odd things,' all to be distributed by his wife to his surviving children.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzQalwkrO7dKAByQ33GAWEgRqk3tiCwONpO5C1qa9vJ4h-9jaJW5RezkSt3P1BMQoGmn3781bXN4_F090M3r2oMeNW8UBO5NyfaVV_XE8pAjITYkweX1T_Lso_BlbDlvQgqy2gDZ6531jlRYPpQwdVyMkzX_uKPuEgn4T-lQuDKukFeqAMHDt5cYj-1w/s2805/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Silk design by James Leman" border="0" height="600" data-original-height="2805" data-original-width="1195" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzQalwkrO7dKAByQ33GAWEgRqk3tiCwONpO5C1qa9vJ4h-9jaJW5RezkSt3P1BMQoGmn3781bXN4_F090M3r2oMeNW8UBO5NyfaVV_XE8pAjITYkweX1T_Lso_BlbDlvQgqy2gDZ6531jlRYPpQwdVyMkzX_uKPuEgn4T-lQuDKukFeqAMHDt5cYj-1w/s600/1.jpeg"/></a></div>
Silk design by James Leman (Dated: 1706/1707).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhy2PhHZoAQysQhk2u_SeliFRZPK_gkHx29uLBauPVZkJzsiCPo2qYWigo0sWdTTh6w_V18qsQAjFUYkKOKL5esR5p4In8vufC1a3l7itSWDsrat_EpKeuWNvmOak0lOjttUOOe--pmyHnao8K1C8yMI6ZQQIaPfdZ-c-pS6NLWE8ol1qGnmopZWc5tg/s2270/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Silk design by James Leman for a flowered satin" border="0" height="600" data-original-height="2270" data-original-width="1035" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhy2PhHZoAQysQhk2u_SeliFRZPK_gkHx29uLBauPVZkJzsiCPo2qYWigo0sWdTTh6w_V18qsQAjFUYkKOKL5esR5p4In8vufC1a3l7itSWDsrat_EpKeuWNvmOak0lOjttUOOe--pmyHnao8K1C8yMI6ZQQIaPfdZ-c-pS6NLWE8ol1qGnmopZWc5tg/s600/2.jpeg"/></a></div>
Silk design by James Leman for a flowered satin. It had two pattern wefts, 'one to continue the other to change.' (Dated: 1706/07). <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtJilQTiafP1XAXS90EYNbYT_HMhjHuQv3rzJ3sspbQSeiQdgT97x-zpMvMcoXe-3MnX20BUE7h6AuNQHQnCSEewC2tgCSomNXgNU1Ah6Zw63VV9fHC-W9VmByv6FFXxojomqwAV_AVB71hc-D34a0JegF9bzAcobaTSY3XWlVtQAxC1jzXfEhj-rUEg/s1310/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Silk design by James Leman" border="0" height="600" data-original-height="1310" data-original-width="543" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtJilQTiafP1XAXS90EYNbYT_HMhjHuQv3rzJ3sspbQSeiQdgT97x-zpMvMcoXe-3MnX20BUE7h6AuNQHQnCSEewC2tgCSomNXgNU1Ah6Zw63VV9fHC-W9VmByv6FFXxojomqwAV_AVB71hc-D34a0JegF9bzAcobaTSY3XWlVtQAxC1jzXfEhj-rUEg/s600/3.jpeg"/></a></div>
Silk design by James Leman for a 'Flow: Satin with changing & Brocade.' (Dated: 1707).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtkTQJelyaOQajLPxPQC5oxCLRawSiChXiVZ4aVfnCgFDg1UULx74NbYbIOZWFCbMQdl3tWSUiZ6YNduZEI-0WwbOTzAlYGEitiug1HZXgjHY6xb6OmhVqXGtGtSIZD78U7izGEl4YzGkJXA9esX7N43EpoPJorfMpLV_D-9jx_GQLBUsX0U4DuLcug/s1417/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Silk design by James Leman" border="0" height="600" data-original-height="1417" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtkTQJelyaOQajLPxPQC5oxCLRawSiChXiVZ4aVfnCgFDg1UULx74NbYbIOZWFCbMQdl3tWSUiZ6YNduZEI-0WwbOTzAlYGEitiug1HZXgjHY6xb6OmhVqXGtGtSIZD78U7izGEl4YzGkJXA9esX7N43EpoPJorfMpLV_D-9jx_GQLBUsX0U4DuLcug/s600/4.jpeg"/></a></div>
Silk design by James Leman (Dated: 1708).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-A2HmIfP95lwc8aEoB9TN3R5Dx4BissTmbGVr-G0iWwCsGQyrd2u1UHvUASCK5hkkjozgGJRe0w4jD_RRbagn3BL_kQzfLp4TBo1kK9hO9bYa_TRLID8GE3uQvlgoBNI1U02F5uGFnlJOGP-O4zLLhi180yE03GHCPC2SPPKaiUMmSmzYIc9j7iK3kA/s2748/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Chasuble, the silks French" border="0" height="600" data-original-height="2748" data-original-width="1834" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-A2HmIfP95lwc8aEoB9TN3R5Dx4BissTmbGVr-G0iWwCsGQyrd2u1UHvUASCK5hkkjozgGJRe0w4jD_RRbagn3BL_kQzfLp4TBo1kK9hO9bYa_TRLID8GE3uQvlgoBNI1U02F5uGFnlJOGP-O4zLLhi180yE03GHCPC2SPPKaiUMmSmzYIc9j7iK3kA/s600/5.jpeg"/></a></div>
Chasuble, French Silks. These can be dated by comparison with designs by James Leman from 1707 and from 1708.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIq_LjMqMjKmNhM4oMwJzemFqJDtLiXtbF-4iAdhU-Ga8QgQ9vSRZeinQSEFmhqZhVMBmiIA7iBjOOjR-l-qFJY1rHHB11CboY9nYeRcfP_55VHqo95I8C2zgwo8_nIv4ywLbMlVIqr02TXPhqFlT0iJTex1heXMjdDdLzhn8p8TWVYfP5vqZXJAMBow/s1408/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Silk design by James Leman" border="0" height="600" data-original-height="1408" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIq_LjMqMjKmNhM4oMwJzemFqJDtLiXtbF-4iAdhU-Ga8QgQ9vSRZeinQSEFmhqZhVMBmiIA7iBjOOjR-l-qFJY1rHHB11CboY9nYeRcfP_55VHqo95I8C2zgwo8_nIv4ywLbMlVIqr02TXPhqFlT0iJTex1heXMjdDdLzhn8p8TWVYfP5vqZXJAMBow/s600/6.jpeg"/></a></div>
Silk design by James Leman (Dated: 1708).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4i-Dvfdg8ZFwE0KE_ScG08PyoOSLjZWFbsC_TI7ZskjNjOIWou2uHL7277zHhHO9YxAnjjfeOJtaFgxBcvcIwGRmDCpirePxJNaPwKuCbrNYPzxSFKYtJtVEoQyQhFne-sSSx_mOeO8r9Q86gvobAS-WRqcjyhGLPPoKnBcrVl07CdrPRxP2EGjozow/s1252/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Silk design by James Leman" border="0" height="600" data-original-height="1252" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4i-Dvfdg8ZFwE0KE_ScG08PyoOSLjZWFbsC_TI7ZskjNjOIWou2uHL7277zHhHO9YxAnjjfeOJtaFgxBcvcIwGRmDCpirePxJNaPwKuCbrNYPzxSFKYtJtVEoQyQhFne-sSSx_mOeO8r9Q86gvobAS-WRqcjyhGLPPoKnBcrVl07CdrPRxP2EGjozow/s600/7.jpeg"/></a></div>
Silk design by James Leman (Dated: 1708/09).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgubLpYFl0BGrtHWOErxgnJRFUv_Hq4hUTe_Z7xMgtDpBG8aK-AuXPUw7raYGNLmDad4uH2m7dsfoyLeKdj4u8MN_ZRzb6re_L3_1UWhMs-vCmvrbsKbhScBqkz3z55zmPXc6cj9VtWwlqBDS0pmifM9jZLMainnp1AUKNVJ4UilIYy7Op7JcAtu_Ebog/s1720/8.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Silk design by James Leman" border="0" height="600" data-original-height="1720" data-original-width="942" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgubLpYFl0BGrtHWOErxgnJRFUv_Hq4hUTe_Z7xMgtDpBG8aK-AuXPUw7raYGNLmDad4uH2m7dsfoyLeKdj4u8MN_ZRzb6re_L3_1UWhMs-vCmvrbsKbhScBqkz3z55zmPXc6cj9VtWwlqBDS0pmifM9jZLMainnp1AUKNVJ4UilIYy7Op7JcAtu_Ebog/s600/8.jpeg"/></a></div>
Silk design by James Leman (Dated: 1709).</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] Ed. C. Brown, Silk Designs of the Eighteenth Century, C. Browne, Thames and Huson, London (1996).</span>
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</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-11256118913519569742023-12-02T07:00:00.160+11:002024-03-04T11:15:49.536+11:00Pigments for Oil Painting [1]Art ResourceMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">This is the twenty-eighth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:<br />
<a href="https://artquill.blogspot.com/2021/08/drawing-art-resource-marie-therese.html">Drawing Art</a><br />
<a href="https://artquill.blogspot.com/2021/09/painting-part-i-art-resource-marie.html">Painting Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2021/10/painting-part-ii-art-resource-marie.html">Painting Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2021/11/painting-part-iii1-art-resource-marie.html">Painting Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2021/12/painting-part-iv-art-resource-marie.html">Painting Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/painting-art-part-v-1-art-resource.html">Painting Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/02/painting-art-part-vi-1-art-resource.html">Painting Art - Part VI</a><br />
<a href="https://artquill.blogspot.com/2022/03/home-made-painting-art-materials-art.html">Home-Made Painting Art Materials</a><br />
<a href="https://artquill.blogspot.com/2022/04/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/05/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/06/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/07/historical-notes-on-art-part-i-1-art.html">Historical Notes on Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/08/historical-notes-on-art-part-ii-1-art.html">Historical Notes on Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/09/historical-notes-on-art-part-iii-1-art.html">Historical Notes on Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/10/historical-notes-on-art-part-iv-1-art.html">Historical Notes on Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/historical-notes-on-art-part-v-1-art.html">Historical Notes on Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/12/tempera-painting-1-art-resource-marie.html">Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2023/02/oil-painting-part-i-1-art-resource.html">Oil Painting - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/01/oil-painting-part-ii-1-art-resource.html">Oil Painting - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/04/oil-painting-part-iii-1-art-resource.html">Oil Painting - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/05/oil-painting-part-iv-art-resource-marie.html">Oil Painting - Part IV</a><br />
<a href="https://artquill.blogspot.com/2023/06/oil-painting-part-v-1-art-resource.html">Oil Painting - Part V</a><br />
<a href="https://artquill.blogspot.com/2023/07/oil-painting-part-vi-1-art-resource.html">Oil Painting - Part VI</a><br />
<a href="https://artquill.blogspot.com/2023/08/pigments-1-art-resource-marie-therese.html">Pigments</a><br />
<a href="https://artquill.blogspot.com/2023/09/classification-of-pigments-part-i-1-art.html">Classification of Pigments - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/10/classification-of-pigments-part-ii-1.html">Classification of Pigments - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/11/classification-of-pigments-part-iii-1.html">Classification of Pigments - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/12/pigments-for-oil-painting-1-art.html">Pigments for Oil Painting</a><br />
<a href="https://artquill.blogspot.com/2024/01/pigments-for-water-color-1-art-resource.html">Pigments for Water Color</a><br />
<a href="https://artquill.blogspot.com/2024/02/pigments-for-tempera-painting-art.html">Pigments for Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2024/03/pigments-for-pastel-1-art-resource.html">Pigments for Pastel</a><br />
<br />
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:<br />
(i) Units used in dyeing and printing of fabrics;<br />
(ii) Occupational, health & safety issues in an art studio;<br />
(iii) Color theories and color schemes;<br />
(iv) Optical properties of fiber materials;<br />
(v) General properties of fiber polymers and fibers - Part I to Part V;<br />
(vi) Protein fibers;<br />
(vii) Natural and man-made cellulosic fibers;<br />
(viii) Fiber blends and melt spun fibers;<br />
(ix) Fabric construction;<br />
(x) Techniques and woven fibers;<br />
(xi) Basic and figured weaves;<br />
(xii) Pile, woven and knot pile fabrics;<br />
(xiii) Durable press and wash-and-wear finishes;<br />
(xvi) Classification of dyes and dye blends;<br />
(xv) The general theory of printing.<br />
<br />
To access any of the above resources, please click on the following link - <a href="https://artquill.blogspot.com.au/2012/04/units-used-in-dyeing-and-printing-of.html">Units Used in Dyeing and Printing of Fabrics</a>. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the <a href="https://artquill.blogspot.com.au/2012/03/glossary-of-terms-and-fabrics-1-13-art.html">Glossary of Cultural and Architectural Terms</a>, <a href="https://artquill.blogspot.com.au/2014/01/timelines-of-fabrics-dyes-and-other.html">Timelines of Fabrics, Dyes and Other Stuff</a>, <a href="https://artquill.blogspot.com.au/2015/12/a-fashion-data-base-edition-1-art.html">A Fashion Data Base</a>, the <a href="https://artquill.blogspot.com.au/2016/03/glossary-of-colors-dyes-inks-pigments.html">Glossary of Colors, Dyes, Inks, Pigments and Resins</a>, the <a href="https://artquill.blogspot.com.au/2016/07/glossary-of-fabrics-fibers-finishes.html">Glossary of Fabrics, Fibers, Finishes, Garments and Yarns</a>, <a href="https://artquill.blogspot.com.au/2017/05/glossary-of-art-artists-art-motifs-and.html">Glossary of Art, Artists, Art Motifs and Art Movements</a>, <a href="https://artquill.blogspot.com.au/2018/01/glossary-of-paper-photography-printing.html">Glossary of Paper, Photography, Printing, Prints and Publication Terms</a> and the <a href="https://artquill.blogspot.com/2019/01/glossary-of-scientific-terms-version-35.html">Glossary of Scientific Terms</a>. All data bases in the future will be updated from time-to-time.<br />
<br />
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.<br />
<br />
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Although any and all of the pigments in this post and following posts may be used, many will be found to be superfluous on a working palette. While painters will naturally have their preferences for specific pigments, some pigments, although definitely separate colors with varying properties, are so closely related to each other than more than one will seldom be required in the same pictiure. The families and groups have been printed on the same line.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Pigments for Oil Painting [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">There are eight pigment hue designations given below, but in an average normal working palette the artist usually requires about twelve or fourteen pigments.<br />
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Pigments such as green earth and ultramarine green, red or violet, which have low tinctorial power, are valued more as glazing colors than as opaque colors; several other permanent but very weak pigments have been omitted. The imitation cobalt blues and turquoise greens, which are special shades of ultramarine, are just as permanent and have the same physical properties as ultramarine blue. Special cleanliness must be observed in handling flake white and Naples yellow in order to prevent lead poisoning. When well-made lead pigments of high quality are used they may be freely mixed with the rest of the permanent palette; sulfur-bearing pigments, such as the cadmiums and ultramarine blue, will cause them to darken in oil mixtures only when poor or badly washed materials are used. Flake white and Naples yellow have such desirable qualities that they are widely used despite this disadvantage.<br />
<br />
The pure iron oxide reds are referred to under <b>Red Pigments</b>. Indian red has a bluish or rose undertone, and light red, a comparative yellowish or salmon undertone. In oil paints these two products should be used in opreference to the native earth reds, and also the artifical product, Venetian red, all of which are inferior. For the same reason vermilion, zinc yellow, and vine black, which are perhaps durable enough for the majority of uses, should not be used, when they can be replaced by more trustworthy pigments of equal color value.<br />
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<b>White</b><br />
(i) Zinc White.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp3_vx75BdF7F3wdRTWmqWyoUM_heH6KdFMKeOkxSqSSefdw09kiXtsenBFFUSPV2kSw-Q3qAsn9z6HRPXV_HNg7wcS1AA2QyJcpN__83E0eVRob7mpR89e-ZE8BywXJkD0_Rz89KzgB-BYRL-HedqlVU7OmXV71CDomo3qDISx-debEN5beeqcwQdSQ/s1346/1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Zinc White" border="0" height="600" data-original-height="1346" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp3_vx75BdF7F3wdRTWmqWyoUM_heH6KdFMKeOkxSqSSefdw09kiXtsenBFFUSPV2kSw-Q3qAsn9z6HRPXV_HNg7wcS1AA2QyJcpN__83E0eVRob7mpR89e-ZE8BywXJkD0_Rz89KzgB-BYRL-HedqlVU7OmXV71CDomo3qDISx-debEN5beeqcwQdSQ/s600/1.jpg"/></a></div><br />
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(ii) Flake White. Cremnitz White.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWd7h_9dpE8K9hoy5ujLKndHgPqOwGjMNQJv0x6ynMqDvsY3n00kgwNqKQNinlx_UjmCWlv5sVsK4NDu2XZDyFixZKg5Ez_HAZRNSCs0pIVl0WZhAOMxifigv9-HL25T9xrla0HuYtQr0TTpy7fYSx5MrJEuYyel_nNn7AQ-FUyVIbo0yQpXJTX5VOog/s243/2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Flake White" border="0" width="500" data-original-height="243" data-original-width="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWd7h_9dpE8K9hoy5ujLKndHgPqOwGjMNQJv0x6ynMqDvsY3n00kgwNqKQNinlx_UjmCWlv5sVsK4NDu2XZDyFixZKg5Ez_HAZRNSCs0pIVl0WZhAOMxifigv9-HL25T9xrla0HuYtQr0TTpy7fYSx5MrJEuYyel_nNn7AQ-FUyVIbo0yQpXJTX5VOog/s600/2.jpg"/></a></div><br />
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(iii) Titantium Oxide.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvcdJKB5I0ijnWN1ecOIjB39_couwI8fVqxzjVdXtDpQHqkHFZFe9Mq0oU9ukg5_CoIYe6a_37ObjvF6BFfuQVDP1EWgjfaC72Uj-ZY0cfPs3JP_4yyh6h7-f-B-2x-UMnz6nTkVUJTJSBHzMQ12RzzoHK96KXJM1bhIUXP3eK6mDh9en2gP96MSGZiQ/s440/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Titantium oxide" border="0" width="500" data-original-height="321" data-original-width="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvcdJKB5I0ijnWN1ecOIjB39_couwI8fVqxzjVdXtDpQHqkHFZFe9Mq0oU9ukg5_CoIYe6a_37ObjvF6BFfuQVDP1EWgjfaC72Uj-ZY0cfPs3JP_4yyh6h7-f-B-2x-UMnz6nTkVUJTJSBHzMQ12RzzoHK96KXJM1bhIUXP3eK6mDh9en2gP96MSGZiQ/s600/3.jpg"/></a></div><br />
<br />
<b>Black</b><br />
(i) Ivory Black.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVTf5lb-2WXPVmpIGURWcLpOkq254JQYhewu32ELJcsI3yO2IW-VDSgHbCGOQmpEwMJc6-hUDyylrP_OVUfULxHapLGAaKjH0KkGRKKwfgRJIED-22SvEIO5EUGdI9OSfftYuplTRvzB-cgqOVMmb7fJW3Qx1t5LCsq53Xq-XMAMocybMc6tr4_je2Mg/s130/4.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Ivory Black" border="0" width="500" data-original-height="130" data-original-width="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVTf5lb-2WXPVmpIGURWcLpOkq254JQYhewu32ELJcsI3yO2IW-VDSgHbCGOQmpEwMJc6-hUDyylrP_OVUfULxHapLGAaKjH0KkGRKKwfgRJIED-22SvEIO5EUGdI9OSfftYuplTRvzB-cgqOVMmb7fJW3Qx1t5LCsq53Xq-XMAMocybMc6tr4_je2Mg/s600/4.jpg"/></a></div><br />
<br />
(ii) Mars Black.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFdDrEUmdTpmHdGZMYW3E0_o_aDU6GUEUDy6j3SaejmV7wifgY-szbOvARnqnytLB2uZ4j3jBLq0OFdvgK7SSMYhMrZJFKokIDNZ52LW6UAuixBxajCeaUMSAB6jpOe17sKZamkto3M6mtzWD9R0FWjT85Y-dL6QSx7NAQr6Yio3pS8nsgdo3rDiqIsA/s567/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mars Black" border="0" width="500" data-original-height="567" data-original-width="567" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFdDrEUmdTpmHdGZMYW3E0_o_aDU6GUEUDy6j3SaejmV7wifgY-szbOvARnqnytLB2uZ4j3jBLq0OFdvgK7SSMYhMrZJFKokIDNZ52LW6UAuixBxajCeaUMSAB6jpOe17sKZamkto3M6mtzWD9R0FWjT85Y-dL6QSx7NAQr6Yio3pS8nsgdo3rDiqIsA/s600/5.jpg"/></a></div><br />
<br />
(iii) Lampblack.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3O3Aptu-qA6T1Vroh6n8wyz306OnZ-mMbgalGGpgsQCspR1bwHcmgHyoJS0XHrTm4FbrlxrbNaO3UX7cz6e7pSaHOkIhGWl4qt0VXxOliwN_RvJoBSebbkd3MD6zRO9o8fnYvhcHMnkxzA70ePvXOlWUGKGFAvoLgQGjPpVYkblvQrtR-oCPYVUoncA/s908/6.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Lamp Black" border="0" width="500" data-original-height="600" data-original-width="908" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3O3Aptu-qA6T1Vroh6n8wyz306OnZ-mMbgalGGpgsQCspR1bwHcmgHyoJS0XHrTm4FbrlxrbNaO3UX7cz6e7pSaHOkIhGWl4qt0VXxOliwN_RvJoBSebbkd3MD6zRO9o8fnYvhcHMnkxzA70ePvXOlWUGKGFAvoLgQGjPpVYkblvQrtR-oCPYVUoncA/s600/6.jpg"/></a></div><br />
<br />
<b>Red</b><br />
(i) Cadmium, Light.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKieG10qlk0YbtB7bSci1v2yTbWyf_MPRcAn61GBKvvB_JDOBbQbI3CGvfyMN_uUYGt8ok2510etLpwPs5WdOZ_KFTyakzTPwsQfSjaQCfHwfdQ5qVay1RynDCPbCA_W71--aUlcYEbILnBLKAEpJuRycYUWoGbVBGRR6G-PqZDJMVdKPqOFnCrk6qJQ/s567/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium Light" border="0" width="500" data-original-height="567" data-original-width="567" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKieG10qlk0YbtB7bSci1v2yTbWyf_MPRcAn61GBKvvB_JDOBbQbI3CGvfyMN_uUYGt8ok2510etLpwPs5WdOZ_KFTyakzTPwsQfSjaQCfHwfdQ5qVay1RynDCPbCA_W71--aUlcYEbILnBLKAEpJuRycYUWoGbVBGRR6G-PqZDJMVdKPqOFnCrk6qJQ/s600/7.jpeg"/></a></div><br />
<br />
(ii) Alizarin Red.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnYZUutqvfib5B3JAtNZHZxdlp9L326KhJZVFN98UNo2BDxDugB9jJL3DOP5_Lr0qQMtSY8ZiGIeNcFjBDrQx6V9tiholh2_7youdY6CN_oXBQOkWqMKBdoeJYcuMjEeE47Zlzep8BrF5Xpw4C3wqT2vzwtNq5U0lJr7itmN1siH4fKwV6SppgHtaCJw/s237/8.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Alizarin Red" border="0" width="500" data-original-height="213" data-original-width="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnYZUutqvfib5B3JAtNZHZxdlp9L326KhJZVFN98UNo2BDxDugB9jJL3DOP5_Lr0qQMtSY8ZiGIeNcFjBDrQx6V9tiholh2_7youdY6CN_oXBQOkWqMKBdoeJYcuMjEeE47Zlzep8BrF5Xpw4C3wqT2vzwtNq5U0lJr7itmN1siH4fKwV6SppgHtaCJw/s600/8.jpg"/></a></div><br />
<br />
(iii) Light Red, Indian Red. Mars Red.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicYoyx8iRJzkvKccbzaM9nTjVCSnRs3Bm_FR-7kDzq2lpYRR1A6PkNtskU7QbgvwhQHBM1QNkcf_q6f0JqAmbyNgsisU1v7_7tXYLudepkKNNBMG6RafF5-zwWxSEu1PVXnkbUL52Cb46AzonkgRigEyoIFitViA6oRfBZLezxqxxp9WKSl3IuevIFQw/s275/9.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="Indian Red" border="0" height="600" data-original-height="275" data-original-width="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicYoyx8iRJzkvKccbzaM9nTjVCSnRs3Bm_FR-7kDzq2lpYRR1A6PkNtskU7QbgvwhQHBM1QNkcf_q6f0JqAmbyNgsisU1v7_7tXYLudepkKNNBMG6RafF5-zwWxSEu1PVXnkbUL52Cb46AzonkgRigEyoIFitViA6oRfBZLezxqxxp9WKSl3IuevIFQw/s600/9.png"/></a></div><br />
<br />
(iv) Cadmium, Deep. Cadmium Maroon.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcw9tK4A_T60la0Y6BW9ZZIupt1MQhKRzSkPQDNNUNb3VNsQeioRsOBFoQJcfZYExZYbxsf5xWh_ajzhunEx9fQTrDDZ8UAVvuPbAsTZPW37Nthdqr2h2-wBH2l3lMy68aD_61weu4PeK84iXqwCbepiVrSXZwhbzlYUF-rRabDtLaZNbQVzVjDzsL8Q/s618/10.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium Maroon" border="0" height="600" data-original-height="618" data-original-width="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcw9tK4A_T60la0Y6BW9ZZIupt1MQhKRzSkPQDNNUNb3VNsQeioRsOBFoQJcfZYExZYbxsf5xWh_ajzhunEx9fQTrDDZ8UAVvuPbAsTZPW37Nthdqr2h2-wBH2l3lMy68aD_61weu4PeK84iXqwCbepiVrSXZwhbzlYUF-rRabDtLaZNbQVzVjDzsL8Q/s600/10.jpg"/></a></div><br />
<br />
<b>Blue</b><br />
(i) Ultramarine Blue (all shades).<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1UnEEZPQpFaNPYxSojROyBZaqHuG7jpUCmor2IKI9g6r_qx6Ul_GaCgtBPfHK8Bq8l7cvdQTtLOtEI7WOwxqKT3Gqq99N4urYJuhNrZTIKB9iXvtCWARIqdyxk_84i3_mAZbo_0DxTHD5EtLZvTiVnFeMfn1h2cL97-Ex4T1zH4_1DJlAkqobfc-BjA/s630/11.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Ultramarine Blue" border="0" width="500" data-original-height="630" data-original-width="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1UnEEZPQpFaNPYxSojROyBZaqHuG7jpUCmor2IKI9g6r_qx6Ul_GaCgtBPfHK8Bq8l7cvdQTtLOtEI7WOwxqKT3Gqq99N4urYJuhNrZTIKB9iXvtCWARIqdyxk_84i3_mAZbo_0DxTHD5EtLZvTiVnFeMfn1h2cL97-Ex4T1zH4_1DJlAkqobfc-BjA/s600/11.jpg"/></a></div><br />
<br />
(ii) Cobalt Blue.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvpew_Mit0T8veEuANgMHCdNyVQiv5U_7PJrnBb739WOhRGfs2oVLew_1nCrc8YWnZUjwr0expXdyfDRM1-UU-d2ev_IcvdOVixC4AqzjvpDeDNy6KGQnpeVnT75Tc_yoCgGdCLDBxMIpoFdHKgLNCsefBPjhgLl0ofSl5KVxp5XlRYNir6RPe0HN82w/s310/12.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cobalt Blue" border="0" width="500" data-original-height="162" data-original-width="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvpew_Mit0T8veEuANgMHCdNyVQiv5U_7PJrnBb739WOhRGfs2oVLew_1nCrc8YWnZUjwr0expXdyfDRM1-UU-d2ev_IcvdOVixC4AqzjvpDeDNy6KGQnpeVnT75Tc_yoCgGdCLDBxMIpoFdHKgLNCsefBPjhgLl0ofSl5KVxp5XlRYNir6RPe0HN82w/s600/12.jpg"/></a></div><br />
<br />
(iii) Cerulean Blue. Manganese Blue.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTf_1YXtEvlnVebU41aRcuiBaIa3S533r1j6vL9j0j1dYZV-S7gPyZOd_6VWBP1pqAxb3q3lK_LZZuwMGJO-Vhr09N2puxxTotB-IAjeCaR_-HmG-oTY3c3QCtDwDIYR-YzSyIL7JJxxGD_Z9yJawsj4uqcqB-X5fBQoEPmVbrCvq5Xk7lT4TmhScbGg/s128/13.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Manganese Blue" border="0" width="500" data-original-height="128" data-original-width="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTf_1YXtEvlnVebU41aRcuiBaIa3S533r1j6vL9j0j1dYZV-S7gPyZOd_6VWBP1pqAxb3q3lK_LZZuwMGJO-Vhr09N2puxxTotB-IAjeCaR_-HmG-oTY3c3QCtDwDIYR-YzSyIL7JJxxGD_Z9yJawsj4uqcqB-X5fBQoEPmVbrCvq5Xk7lT4TmhScbGg/s600/13.jpg"/></a></div><br />
<br />
(iv) Phthalocyanine Blue.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGeJC85TPkfL1jXe7oqle0hnZ_lOW__bp5Zu9moS6shjG2I8VPW4Z9Cfd0CnJPj4Kk5FMA7XrHLPkS84QU3Bc1OIywbgLpe2qJYrjJJo2yvKm9iGe3JEnwGiWGPJZ9G1WAdrWpa3-o8HKQQItf3QCc6LrizXbHglSeqs7yxC6YaF1PwtpGw77EgriEqQ/s1200/14.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Phthalocyanine Blue" border="0" width="500" data-original-height="628" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGeJC85TPkfL1jXe7oqle0hnZ_lOW__bp5Zu9moS6shjG2I8VPW4Z9Cfd0CnJPj4Kk5FMA7XrHLPkS84QU3Bc1OIywbgLpe2qJYrjJJo2yvKm9iGe3JEnwGiWGPJZ9G1WAdrWpa3-o8HKQQItf3QCc6LrizXbHglSeqs7yxC6YaF1PwtpGw77EgriEqQ/s600/14.jpg"/></a></div><br />
<br />
<b>Green</b><br />
(i) Viridian<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga79GutcEGuUyCqm3i8yoe4NqQu4Ml5HhkXEgOf9lupZ6f8wwmpPImTDLNGLpwyGWv5VgaVb5Lk1_A0P5VkVrN1ZrblN2zmAtdTDEcX3J9rc5xPH02UEc-YkgHOluV0yqtiAemlGKCV4QbXZm9Bbko4x3B4pWY1oGTykVh1hojdPS11RF-jodzzS6Z6Q/s318/15.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Viridian" border="0" width="500" data-original-height="310" data-original-width="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga79GutcEGuUyCqm3i8yoe4NqQu4Ml5HhkXEgOf9lupZ6f8wwmpPImTDLNGLpwyGWv5VgaVb5Lk1_A0P5VkVrN1ZrblN2zmAtdTDEcX3J9rc5xPH02UEc-YkgHOluV0yqtiAemlGKCV4QbXZm9Bbko4x3B4pWY1oGTykVh1hojdPS11RF-jodzzS6Z6Q/s600/15.jpg"/></a></div><br />
<br />
(ii) Chromium Oxide<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzTjo46xdPQYO030Vb6eZEC7BhOLJahm0gGJ044sF8OnH4pCgOnYZcUCQtJia1pBGGAuhje-DTa2kSGXfp3YQSWb2UJEOfZv-rlh1-0qrAZfulWYTPGG1CdvYKBqjAwkUFgMpm0JQkT5DFci9Ca4zJV96f0K3oVXO-HdVcZRmpVopD1JG_UG2YvNoIrg/s225/16.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="Chromium Oxide" border="0" width="500" data-original-height="225" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzTjo46xdPQYO030Vb6eZEC7BhOLJahm0gGJ044sF8OnH4pCgOnYZcUCQtJia1pBGGAuhje-DTa2kSGXfp3YQSWb2UJEOfZv-rlh1-0qrAZfulWYTPGG1CdvYKBqjAwkUFgMpm0JQkT5DFci9Ca4zJV96f0K3oVXO-HdVcZRmpVopD1JG_UG2YvNoIrg/s600/16.png"/></a></div><br />
<br />
(iii) Phthalocyanine Green<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEjHH1JcK8gJsEWo7z0hhG2Dh5cIlWeF4TnAgs9pv2JkL9wOUcQbys0QFe6yj4838ClE0JM2QWc9Bde01Xt0QSE13p4IHKtlkOiWTp4c9M5bo2T0IjQb-Y9SKCCXoy3gpLWNYv1cCbyENtmMb3kokf9nDjlmldmVMpk-T2UlwlZm62W6drmmF6Cn7s-A/s1538/17.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Phthalocyanine Green" border="0" width="500" data-original-height="474" data-original-width="1538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEjHH1JcK8gJsEWo7z0hhG2Dh5cIlWeF4TnAgs9pv2JkL9wOUcQbys0QFe6yj4838ClE0JM2QWc9Bde01Xt0QSE13p4IHKtlkOiWTp4c9M5bo2T0IjQb-Y9SKCCXoy3gpLWNYv1cCbyENtmMb3kokf9nDjlmldmVMpk-T2UlwlZm62W6drmmF6Cn7s-A/s600/17.jpg"/></a></div><br />
<br />
(iv) Green Earth<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0NPb8qw0Pbo-Aen4tq3FeSoUIqSFNG3ZVjnCr01LUpfzlvzIJJBEE30P73R6GJWklQmb68Nhq49PLluo2Htk5SHvySqA9Tb-t7tFnOiXe3X6dEUrDR6L2eullavmh1_tQ1GgCQT7zHva1kzlMb28MAUdcNYnUhqFXjBEGrGy1_qA58bDD3dfDqet-g/s300/18.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Green Earth" border="0" width="500" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0NPb8qw0Pbo-Aen4tq3FeSoUIqSFNG3ZVjnCr01LUpfzlvzIJJBEE30P73R6GJWklQmb68Nhq49PLluo2Htk5SHvySqA9Tb-t7tFnOiXe3X6dEUrDR6L2eullavmh1_tQ1GgCQT7zHva1kzlMb28MAUdcNYnUhqFXjBEGrGy1_qA58bDD3dfDqet-g/s600/18.jpg"/></a></div><br />
<br />
(v) Cobalt Green<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTIfZ9o_v2yVd1kIh1du_7H6VL8C7HvqdbFINHgAAvAbuVyFY3GzaHigSYstZojIzX0CDq-reOCNa6iCZH2QRjvqgGye8oMK_94VODS_pxVFTwUycMbCCkVMNMfHtHFnlu-BBGIZUJbtLP7SOVLdkWOzVIr3wVvc7gAHCCs1TSu60xc62W4nteCH7ZNg/s800/19.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cobalt Green" border="0" width="500" data-original-height="742" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTIfZ9o_v2yVd1kIh1du_7H6VL8C7HvqdbFINHgAAvAbuVyFY3GzaHigSYstZojIzX0CDq-reOCNa6iCZH2QRjvqgGye8oMK_94VODS_pxVFTwUycMbCCkVMNMfHtHFnlu-BBGIZUJbtLP7SOVLdkWOzVIr3wVvc7gAHCCs1TSu60xc62W4nteCH7ZNg/s600/19.jpg"/></a></div>
(vi) Ultramarine Green<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4cS8sUhT4yOjUCAV6sYfxNsOfLmHApy9KWOHeLpH0TyhITVFQLk42s8Bf8aIS7eFiM7hgHbuJHbpq8bSDeEEfsN1jucx_5yaJfzZ28nlq8HIgSoTq5JYT6TdcWEUKZJ0okZ50XMoY61erF7cgtnqrzFh2KtSGFAfKlk6QZOJxEpOYe2ped_YoTgCopg/s1000/20.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Ultramarine Green" border="0" width="500" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4cS8sUhT4yOjUCAV6sYfxNsOfLmHApy9KWOHeLpH0TyhITVFQLk42s8Bf8aIS7eFiM7hgHbuJHbpq8bSDeEEfsN1jucx_5yaJfzZ28nlq8HIgSoTq5JYT6TdcWEUKZJ0okZ50XMoY61erF7cgtnqrzFh2KtSGFAfKlk6QZOJxEpOYe2ped_YoTgCopg/s600/20.jpg"/></a></div><br />
<br />
<b>Yellow</b><br />
(i) Cadmium Pale.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8k2TvwQUQ_yWSBhgh7J-SD_kyz2y8Y3KNm5zkVAPHM6ZV6BLj7LSfcJJIVjtOO9ivbZwFBF-yMt-0WxtFlQJR3dp-F4omD47VlXQ65oQsiLgR19dYuMwQCIymgwQO-diP9iH1hKDyMs2e3RPS02mAPT4XazX7uxcuRyLVYP81eFd0qE4-sioAgNqJQA/s225/21.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium, Pale" border="0" width="500" data-original-height="225" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8k2TvwQUQ_yWSBhgh7J-SD_kyz2y8Y3KNm5zkVAPHM6ZV6BLj7LSfcJJIVjtOO9ivbZwFBF-yMt-0WxtFlQJR3dp-F4omD47VlXQ65oQsiLgR19dYuMwQCIymgwQO-diP9iH1hKDyMs2e3RPS02mAPT4XazX7uxcuRyLVYP81eFd0qE4-sioAgNqJQA/s600/21.jpg"/></a></div><br />
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(ii) Cadmium Medium. Cadmium Deep.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijJ1I_XLGmjD_meJghYTosNvWbbWtjeL-fLgrFmQP9F4V6fwXqTSnBDvuETm9qWgmU1HMXoR3JPQteOC-v8Ph8PZdEVswyUZOJs7xkL36-_iizYfsarPqgTbX0S82JKQFY2y8Q060N2q-YHausUCC1dkmzfuQp7brskUS8Bb3BeDnkCwJBsZvU_fTuRg/s225/22.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium Deep" border="0" width="500" data-original-height="225" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijJ1I_XLGmjD_meJghYTosNvWbbWtjeL-fLgrFmQP9F4V6fwXqTSnBDvuETm9qWgmU1HMXoR3JPQteOC-v8Ph8PZdEVswyUZOJs7xkL36-_iizYfsarPqgTbX0S82JKQFY2y8Q060N2q-YHausUCC1dkmzfuQp7brskUS8Bb3BeDnkCwJBsZvU_fTuRg/s600/22.jpg"/></a></div><br />
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(iii) Cadmium Orange.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcB0KtJ2s_SoQbfhZ3OInW6vHQwMkFy3rw5JxyPsGXOMjHAkePyWzOaJrz_g19K5xyWdt63tJFA1U2A_qlQTnixN4ViEVhanntjBRys_VKVbaa-Gfm4Muw5sR4gck8oD3ziZ4csEJE7qsyBL52D4t7bQFicK1UgyWiFoa1DsFqMt699D8gCZ65lP3Xdw/s275/22.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cadmium Orange" border="0" height="600" data-original-height="275" data-original-width="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcB0KtJ2s_SoQbfhZ3OInW6vHQwMkFy3rw5JxyPsGXOMjHAkePyWzOaJrz_g19K5xyWdt63tJFA1U2A_qlQTnixN4ViEVhanntjBRys_VKVbaa-Gfm4Muw5sR4gck8oD3ziZ4csEJE7qsyBL52D4t7bQFicK1UgyWiFoa1DsFqMt699D8gCZ65lP3Xdw/s600/22.png"/></a></div><br />
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(iv) Naples Yellow.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSEHUmlvoTv_gJQC6FjTPyy3PTn1xuoWmu-5PzXjpOThd_K-KoZYZfTyC4x8YMOgDOWI9_OpNyh0Yfqbtr_zCvzgOylzrKXBHGVE81ALCjRmNiFYeF1nShv9oE7vy7COHrFwG8gcEFhvAUTI4AFcg0VQA7rSt6u2FMRa2n1np_2u107_YH7gxgpJ31Hw/s153/23.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Naples Yellow" border="0" width="400" data-original-height="400" data-original-width="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSEHUmlvoTv_gJQC6FjTPyy3PTn1xuoWmu-5PzXjpOThd_K-KoZYZfTyC4x8YMOgDOWI9_OpNyh0Yfqbtr_zCvzgOylzrKXBHGVE81ALCjRmNiFYeF1nShv9oE7vy7COHrFwG8gcEFhvAUTI4AFcg0VQA7rSt6u2FMRa2n1np_2u107_YH7gxgpJ31Hw/s600/23.jpg"/></a></div><br />
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(v) Mars Yellow. Ochre. Transparent Ochre. Raw Sienna.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhksMMDti2YlWmuh2OyQ1HNH-SpYJsSpF6KZayVw5nxWb2LfSlG83S2asjQqjvC3g4vH2-AZ5-mxnF22LidYCE4f9Qsna54h0-MOBP1kIOYGvxZCtfFC3lDBKBhBrbQIMwBcmMHLoqlM38qpEKcNwnqTeI7vXQXgd3_VAH3hdshuytKO52dv2LZT28KJw/s1436/24.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mars Yellow" border="0" width="500" data-original-height="1250" data-original-width="1436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhksMMDti2YlWmuh2OyQ1HNH-SpYJsSpF6KZayVw5nxWb2LfSlG83S2asjQqjvC3g4vH2-AZ5-mxnF22LidYCE4f9Qsna54h0-MOBP1kIOYGvxZCtfFC3lDBKBhBrbQIMwBcmMHLoqlM38qpEKcNwnqTeI7vXQXgd3_VAH3hdshuytKO52dv2LZT28KJw/s600/24.jpg"/></a></div><br />
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(vi) Cobalt Yellow. Hansa Yellow.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7aQCArwXGUh-FZuF-UMtSjd3xsCMTTpDajrAVYRhYaooOE84y_jgqtrkdvmqglDzmuToxGweIfQmCPHFnQDQLE8R-VbE-mDw7KOAlm4wXKAg5To2bDF2id7hlIjJBcxaWAVePfft4hWe4u7XHE9SL3ZdccrhjXnc9VgZSU2HOvImsfOktp69uaQnqw/s300/25.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cobalt Yellow" border="0" width="300" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7aQCArwXGUh-FZuF-UMtSjd3xsCMTTpDajrAVYRhYaooOE84y_jgqtrkdvmqglDzmuToxGweIfQmCPHFnQDQLE8R-VbE-mDw7KOAlm4wXKAg5To2bDF2id7hlIjJBcxaWAVePfft4hWe4u7XHE9SL3ZdccrhjXnc9VgZSU2HOvImsfOktp69uaQnqw/s600/25.jpg"/></a></div><br />
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(vii) Strontium Yellow.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtmA92sdL4Is4qMTM8LBwO0qM3H5S__MywfTbyKc8QX0ADaiB9XSgJSzVQexl1qwdwUwD43ckmnoSRvfWRiIzUMf6Hu8TkbqKlzsB-XyjF_oMwcE5zkClGTMxGlxsR0Z15ILIghE3k12nH23FHpuak2cUobW9UMVsk9vgqdBPWjbA5MaFoUOE-67768A/s892/26.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Strontium Yellow" border="0" width="500" data-original-height="520" data-original-width="892" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtmA92sdL4Is4qMTM8LBwO0qM3H5S__MywfTbyKc8QX0ADaiB9XSgJSzVQexl1qwdwUwD43ckmnoSRvfWRiIzUMf6Hu8TkbqKlzsB-XyjF_oMwcE5zkClGTMxGlxsR0Z15ILIghE3k12nH23FHpuak2cUobW9UMVsk9vgqdBPWjbA5MaFoUOE-67768A/s600/26.jpg"/></a></div><br />
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<b>Violet</b><br />
<br />
(i) Cobalt Violet. Manganese Violet.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh58WB38LnPK5Kz4YufNhOWk40v4oqCQrA880JsRVR2hRACv1sm-eWpxfxiUTwlLpzQguU74VcbNDjb-bdjEX8h5BVh1yHpi_tpyHX5LWfyXkpVRbUKvrlu0hk4FWVL3pC6pkXYE9r6I2eL23WMxiSh5KXMsVcKHGpN2Qa7_gJI9-05bTs_Xsy0AWApRA/s225/27.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cobalt Violet" border="0" width="400" data-original-height="400" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh58WB38LnPK5Kz4YufNhOWk40v4oqCQrA880JsRVR2hRACv1sm-eWpxfxiUTwlLpzQguU74VcbNDjb-bdjEX8h5BVh1yHpi_tpyHX5LWfyXkpVRbUKvrlu0hk4FWVL3pC6pkXYE9r6I2eL23WMxiSh5KXMsVcKHGpN2Qa7_gJI9-05bTs_Xsy0AWApRA/s600/27.jpg"/></a></div><br />
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(ii) Mars Violet.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEOawmxTZZhYFy-5Fv3b_7wPG0lCVRt4Pl6B6nex_gjzNowuREwxk9WkYbrgAJ5qMD3ZnkTeM_z3PlKjsjRTZQZFRoe0-clQmJOuFGrs_pKWv7yvy4oTIoBi1npFlxl8YMqpwXo79JCKgV-ziW-hmKYO5WUxaPejMzw1-G0Oa1FKlqK0Cmhijf2ep32w/s500/28.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mars Violet" border="0" width="500" data-original-height="500" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEOawmxTZZhYFy-5Fv3b_7wPG0lCVRt4Pl6B6nex_gjzNowuREwxk9WkYbrgAJ5qMD3ZnkTeM_z3PlKjsjRTZQZFRoe0-clQmJOuFGrs_pKWv7yvy4oTIoBi1npFlxl8YMqpwXo79JCKgV-ziW-hmKYO5WUxaPejMzw1-G0Oa1FKlqK0Cmhijf2ep32w/s600/28.jpeg"/></a></div><br />
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<b>Brown</b><br />
(i) Raw Umber<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg985dZdrD88JOzu4CdiUGg_92n5JXQ2EynfFsO04ezG2cx2CTLeK7-0RDtpl22nVaJN_rtrohTPYbswmsHGYIZPMpsF5MUUSovX2HzeFs7dWCXNOekGPpgBuuDRKLqnEBAkNcD-d94lALgH54CMmWhTVNyPF11y3sLtOREDOrjNCmtp_xsh_L1rkklMQ/s900/29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Raw Umber" border="0" height="600" data-original-height="900" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg985dZdrD88JOzu4CdiUGg_92n5JXQ2EynfFsO04ezG2cx2CTLeK7-0RDtpl22nVaJN_rtrohTPYbswmsHGYIZPMpsF5MUUSovX2HzeFs7dWCXNOekGPpgBuuDRKLqnEBAkNcD-d94lALgH54CMmWhTVNyPF11y3sLtOREDOrjNCmtp_xsh_L1rkklMQ/s600/29.jpg"/></a></div><br />
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(ii) Burnt Umber<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDHDTzhhtQBR79QdO7y7AhsHKF1asENNGPvF0CVXE4GY4cre64iSmKF2GKM6hVOgVuvXw_Ex6wK4VQMuba80rYL--1Fq9eDzOi3HTdHlC1TtvRmJygjzhuXUi-L2D0Js51Tqj-bfOQntBJXtPtgrSVF20Q7C_7TFv14SIMBmWj0-Wa5xDRbaN8lFWZWg/s419/30.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Burnt Umber" border="0" height="600" data-original-height="419" data-original-width="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDHDTzhhtQBR79QdO7y7AhsHKF1asENNGPvF0CVXE4GY4cre64iSmKF2GKM6hVOgVuvXw_Ex6wK4VQMuba80rYL--1Fq9eDzOi3HTdHlC1TtvRmJygjzhuXUi-L2D0Js51Tqj-bfOQntBJXtPtgrSVF20Q7C_7TFv14SIMBmWj0-Wa5xDRbaN8lFWZWg/s600/30.jpg"/></a></div><br />
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(iii) Burnt Sienna.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiymNn93OKgrnvemqGK5rNY6xCm5UE2mudcvHYDoXx_jztTR7RKc1rEurQH_ZfJ24ZRuPxaCVJiHQTy0jW2AbRi6k_sSLnbJnxAw-C0TN4rOGhQB7x-HfvDjfxWc8n1dNQ7DWZA8Y6y2VS0wvGSGQM0bnECXeYGi4j_5jVevnKnMDNGCSh87FPluTk2xQ/s3840/31.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Burnt Sienna" border="0" width="500" data-original-height="2160" data-original-width="3840" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiymNn93OKgrnvemqGK5rNY6xCm5UE2mudcvHYDoXx_jztTR7RKc1rEurQH_ZfJ24ZRuPxaCVJiHQTy0jW2AbRi6k_sSLnbJnxAw-C0TN4rOGhQB7x-HfvDjfxWc8n1dNQ7DWZA8Y6y2VS0wvGSGQM0bnECXeYGi4j_5jVevnKnMDNGCSh87FPluTk2xQ/s600/31.jpg"/></a></div><br />
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(iv) Burnt Green Earth.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNK_2bDRLVQ4yP_oQatxKzuIvFudzTxAR6Y7EdyVMVCh3q190WxIQ76An3s5GDqXVDpmujp-a3cLualIOA_nK4Uml-aK8Ew73iZLX-ipBIlgjKFyHI2YT6gqeNXo6T1qFZAQy3Dm8M3WIt7z4Sy2sTqemA-ZLV0yGKe5eVihn0sB5PuVag4WMbLsBKnw/s1320/32.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Burnt Green Earth" border="0" width="500" data-original-height="808" data-original-width="1320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNK_2bDRLVQ4yP_oQatxKzuIvFudzTxAR6Y7EdyVMVCh3q190WxIQ76An3s5GDqXVDpmujp-a3cLualIOA_nK4Uml-aK8Ew73iZLX-ipBIlgjKFyHI2YT6gqeNXo6T1qFZAQy3Dm8M3WIt7z4Sy2sTqemA-ZLV0yGKe5eVihn0sB5PuVag4WMbLsBKnw/s600/32.jpg"/></a></div><br />
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(v) Brown Madder.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjocnV-vK5q_VCa9GqhAedA2UmQuvKpeAG7FMHaGJBfiAVnKYn90qVly7F01L782SkAXjxmRXLtNCeczrYqDnduthwSUcTtlvXv03Vzn9L6MwFpJ8z3qPFtDt__Y6gSZCcZUs9f6D5QxusAzDEnHXrAhMYhg_Weq0Ks4AuZ-h_EOtINGBCAfekBYI1ryA/s354/33.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Brown Madder" border="0" height="600" data-original-height="354" data-original-width="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjocnV-vK5q_VCa9GqhAedA2UmQuvKpeAG7FMHaGJBfiAVnKYn90qVly7F01L782SkAXjxmRXLtNCeczrYqDnduthwSUcTtlvXv03Vzn9L6MwFpJ8z3qPFtDt__Y6gSZCcZUs9f6D5QxusAzDEnHXrAhMYhg_Weq0Ks4AuZ-h_EOtINGBCAfekBYI1ryA/s600/33.jpg"/></a></div><br />
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The left-hand column lists eight huse designations, but in an everage normal working paette the artist usually requires about twelv or fourteen pigments.<br />
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Pigments such as green earth and utramarine green, red, or violet, which have low tinctorial power, are valued more as glazing colors than as opaque body colors; several other permanent, but weak pigments, have been omitted. The imitation cobalt blues and turquoise greens, which are special shades of ultramarine, are just as permanent, and have the same physical properties as ultramarine blue. Special cleanliness must be observed in handling flake white and Naples yellow in order to prevent lead poisoning. When well-made lead pigments of high quality are used they may be freely mixed with the rest of the permanent palette; sulphur-bearing pigments, such as cadmiums and ultramarine blue, will cause them to darken in oil mixtures only when poor or badly washed materials are used. Flake white and Naples yellow have such highly desirable qualities that they are widely used despite this disadvantage.<br />
<br />
The pure iron oxide reds are referred to under 'Red Pigments.' Indian red has a bluish or rose undertone, and light red, a comparatively yellowish or salmon undertone. In oil paints these two products should be used in preference to native earth reds and also the artificial product, Venetian red, all of which are inferior. For the same reason vermilion, zinc yellow, and vine black, which are perhaps durable enough for the majority of uses, should not be used, when they are replaced by more trustworthy pigments of equal color value.
</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-51928908307508880972023-11-25T07:00:00.046+11:002023-11-25T09:20:22.771+11:00Melbourne Now - Part II [1]Art ExhibitionMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">'Melbourne Now' was an art exhibition mounted by the National Gallery of Victoria (Melbourne, Australia) in 2014. It takes as its premise the idea that a city is significantly shaped by the artists, designers, architects, choreographers, intellectuals and community groups that live and work in its midsts. The aim is to explore how Melbourne's visual artists and creative practitioners contribute to the dynamic cultural identity of this city. The result is an exhibition that celebrates what is unique about Melbourne's art, design, and architecture communities.<br />
<br />
The intention of this exhibition is to encourage and inspire everyone to discover some of the best of Melbourne's culture. To help achieve this, family-friendly activities, dance and music performances, inspiring talks from creative practitioner's, city walks and ephemeral installations and events made up the public program.<br />
<br />
This and other posts in this series will concentrate on the participating artists rather than on other features of the exhibition event (e.g., family-friendly commisions developed especially for children and young audiences that aimed to encourage participatory learning for kids and families etc.)<br />
<br />
For you convenience I have listed below other posts featuring exhibitions:<br />
<a href="https://artquill.blogspot.com/2023/09/melbourne-now-part-i-1-art-exhibition.html">Melbourne Now - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/11/melbourne-now-part-ii-1-art-exhibition.html">Melbourne Now - Part II</a>
</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Melbourne Now - Part II [1]</b></span><br />
<br />
<span style="font-family: Helvetica; font-size: 10pt;"><b>Lauren Berkowitz</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggrYOKyM0oKv5m0SHV1efVXbpXMZ11L958-iPMt7c9OJWBSoG2RhHzVnA_OPvawx1PbvybMLUA7oatTGKilEpgJKNmk8b2RzE-aIDy-LfGvTv39yUrcYtfszrB8DS21sKumB7C_RmwT9jdLr3iIdRkJoS6MToGxS1A_-Uov5DEBi6XNedo3MRyrAKi1g/s901/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Manna" border="0" height="600" data-original-height="901" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggrYOKyM0oKv5m0SHV1efVXbpXMZ11L958-iPMt7c9OJWBSoG2RhHzVnA_OPvawx1PbvybMLUA7oatTGKilEpgJKNmk8b2RzE-aIDy-LfGvTv39yUrcYtfszrB8DS21sKumB7C_RmwT9jdLr3iIdRkJoS6MToGxS1A_-Uov5DEBi6XNedo3MRyrAKi1g/s600/1.jpeg"/></a></div>
<b>Title:</b> Manna (2009).<br />
<br />
Nature and the environment are constant themes of Lauren Berkowitz's artistic practice. Her works reflect on the role of nature in biblical narratives and ancient myths - stories which address the importance placed on landscape by the people who utilize it. Inspired by the natural world, but troubled by its degradation, Berkowitz recycles materials to create environmental narratives in an act of regeneration. Her post-Minimalist sculptures are a hybrid form of temporal, process-based installation.<br />
<br />
Berkowitz's installation for 'Melbourne Now' is a sensory indoor garden, which utlizes edible and medicinal plants that have healing qualities in traditional and Western medicines. While referencing the Chelsea Physic Garden (London) and the Victory gardens of the First and Second World Wars, this living artwork embodies notions of renewal and sustainability, with the plants cultivated in recycled plastic pots, bottles and takeway containers, Physic Garden (2013) creates an aromatic and immersive experience for the viewer, inviting reflection on the Australian landscape and its transformations throughout history.<br />
<br />
<b>Brian Birch</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4RvFORyw6T5T292wZzq2GXvA7rFyBlaQY2oQWH7feNGlcdj7uWcEvqPD9YiDxcM7C-5yrMg268oqCYgHOd0FViVgtuxmnpLwovKavAvap9ccOnY4ae_0BLIGp3fMXMT0YsqDKXVeLSX6oQL5k2uxENQRFmcwP10QIHGOGdl8-pcFsLJBwHjDWs5IyNQ/s874/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Koori Elders Dancing" border="0" width="500" data-original-height="661" data-original-width="874" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4RvFORyw6T5T292wZzq2GXvA7rFyBlaQY2oQWH7feNGlcdj7uWcEvqPD9YiDxcM7C-5yrMg268oqCYgHOd0FViVgtuxmnpLwovKavAvap9ccOnY4ae_0BLIGp3fMXMT0YsqDKXVeLSX6oQL5k2uxENQRFmcwP10QIHGOGdl8-pcFsLJBwHjDWs5IyNQ/s600/2.jpeg"/></a></div>
<b>Title:</b> Koori Elders Dancing (2012).<br />
<br />
Brian Birch was born in Fitzroy (Melbourne, Australia) in 1936, where he grew up in strained circumstances with his mother and grandmother, who were of Wurundjeri aboriginal descent. Birch was unaware of his Aboriginality until he was thirty-seven, when he was first told about his family's history by Koori elder Bobby Lovett. In 2006 Birch attended Koori art classes at North Melbourne Insitute of Technology, Preston Campus(Melbourne), in which he came to painting intuitively and swiftly developed his own vocabulary.<br />
<br />
Inspired by color and the spontaneous style of Vincent van Gogh, Birch paints with freedom of expression and vibrant brushstrokes and has conceived an iconography of meanders, circles and gestural markings to express his spirtual identity. Koori Elders Dancing (2012) invokes the power of spirited dancing celebration of male elders giving away their daughters in marriage. The work causes Birch to honour the beauty and mourn the loss of his wife, Lorraine, and his mother, Rose. The large roundels, emblematic of two Ngurungaeta (headmen), surrounded by lines of small and large circles which cannot be broken - echo the tiered compositions of William Barak's corroboree drawings.<br />
<br />
<b>Chris Bond and Drew Pettifer</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUoU8WO6xR7lOD_1kd4IrZ0b_by6HhAj-m7E_iJp0YuQPKosp5BuRFgCUOdDN4eW7KO9eP19kxW3saT5g7AVrT_tC2dM_A1mQXO-75YaxhCAJjzRmQjvHrSuyQCAdLdhEwsjotBVP5q5JFahU41QoDuba-S637HIIW0uxg3XtwdDpALD4xGBwkyzrjJA/s890/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Drew Pettifer, Untitled" border="0" width="500" data-original-height="602" data-original-width="890" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUoU8WO6xR7lOD_1kd4IrZ0b_by6HhAj-m7E_iJp0YuQPKosp5BuRFgCUOdDN4eW7KO9eP19kxW3saT5g7AVrT_tC2dM_A1mQXO-75YaxhCAJjzRmQjvHrSuyQCAdLdhEwsjotBVP5q5JFahU41QoDuba-S637HIIW0uxg3XtwdDpALD4xGBwkyzrjJA/s600/3.jpeg"/></a></div>
<b>Artist and Title:</b> Drew Pettifer, Untitled (2012).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70VGaNL5rM3YaOPTIkgkDzZ-nZ6u0wVnBBnpY8kP8Yp8v4b8aXh0zcAZ0PT-m7wUI755JIDvU1dqDKFAQWPYx6MNmKaeCllKNf-2AUA8MG3UUXSHu2BpjwbqfCL0a72I4mtBWIrMW9X9E5kcp3QwypFs96mBOZ4pvj6ityJV44ActWcGWzrqWMLSQXA/s899/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Chris Bond, Untitled" border="0" width="500" data-original-height="599" data-original-width="899" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70VGaNL5rM3YaOPTIkgkDzZ-nZ6u0wVnBBnpY8kP8Yp8v4b8aXh0zcAZ0PT-m7wUI755JIDvU1dqDKFAQWPYx6MNmKaeCllKNf-2AUA8MG3UUXSHu2BpjwbqfCL0a72I4mtBWIrMW9X9E5kcp3QwypFs96mBOZ4pvj6ityJV44ActWcGWzrqWMLSQXA/s600/4.jpeg"/></a></div>
<b>Artists and Title:</b> Chris Bond and Drew Pettifer, Untitled.<br />
Note: Supported by the Bowness Family Foundation.<br />
<br />
Chris Bond studied fine art at RMIT University, Melbourne (Australia). He makes work that charts the decline and fall of artistic idealism. Chris creates parallel worlds of seeming authenticity by constructing fictitious identities, transforming found objects into painted artifacts, simulating standard modes of artistic prresentation and rewriting art history. Drew Pettifer studied law, arts and art management at the University of Melbourne and RMIT University and undertook a doctorate of photomedia at Monash University. Pettifer's practice explores themes of intimacy, gender, sexuality and the politics of the gaze using photography, video, installation and performance. His subjects are usually young men through whom he explores the private and public act of desire.<br />
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For Melbourne Now, Bond and Pettifer have worked collaboratively to create diptychs, initiating a dialogue between their respective photography of young men, while in accompanying duplicate images Bond paints over the figures so as to make them disappear. The presence and absence of the human subjects instils these works with a strong sense of loss and longing.<br />
<br />
<b>Stephen Bram</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjucCn9NEEh2vcCSOxGMUZKsaJiJcAtqarZza_wJN3qW3q2WKHQ47Su1GrmuIWWeCnA83SzywTMp_4OF_6_KYgBixYR27Bl8gksrhHJ4aEddZPgqa9B8gdgTNvyPG6kaVQrl1L8pfngBgXXmOq8ntmo-SYPlvpsQpByPLa_OXtVfmU7ta_fj8GYDGgOyA/s1321/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Stephen Bram" border="0" height="600" data-original-height="1321" data-original-width="880" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjucCn9NEEh2vcCSOxGMUZKsaJiJcAtqarZza_wJN3qW3q2WKHQ47Su1GrmuIWWeCnA83SzywTMp_4OF_6_KYgBixYR27Bl8gksrhHJ4aEddZPgqa9B8gdgTNvyPG6kaVQrl1L8pfngBgXXmOq8ntmo-SYPlvpsQpByPLa_OXtVfmU7ta_fj8GYDGgOyA/s600/5.jpeg"/></a></div>
<b>Title:</b> Untitled (2009).<br />
<b>Courtesy:</b> The commission for Melbourne Now was supported by the Michael and Andrew Buxton Foundation.<br />
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For several decades, Stephen Bram has developed a body of work exploring the relationship between abstract painting and the representation of architectural space. His easel and mural-scale wall paintings, installations and architecture, and film and light installations are determined according to very specific rules: the designation of two, sometimes three, perspectival points in space as coordinates that inform the works' shapes, and to which each work refers.<br />
<br />
Bram's architectural installation constructed according to designated vanishing points beyond the frame of the National Gallery of Victoria (Melbourne) architecture. Built from conventional materials - steel, wool, plasterboard and paint - it is both an object (sculpture) and an enclosed space (architecture). The work's dynamic planes subject the viewer to new perspectives and perceptions of space. Bram's work is formalist and self-referenential, but at the same time refers to the real world renounced by purely formalist painting and sculpture. As an autonomous structure, it nevertheless is continuous with the world outside and exceeds its objective limits by pointing to the existence of a world beyond.<br />
<br />
<b>Angela Brennan</b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNSctgaS4y2pzLuCSihRr9ITfUNdPsHJIdh3LRSRwdMaJLp1qoc66C9Qa0IHSWrNz7KnGMD4eGwHjOHg1dqXX6xXXbxcfKYImG8lUcb4L7JTuDdv-X-qlhu5U8QXbgcHGK6_wmPy5CYBTmrqAI_H-eGdvl98Mpsi839belgv2uceCH6t5RnKBGGcFbqQ/s902/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Angela Brennan" border="0" width="500" data-original-height="778" data-original-width="902" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNSctgaS4y2pzLuCSihRr9ITfUNdPsHJIdh3LRSRwdMaJLp1qoc66C9Qa0IHSWrNz7KnGMD4eGwHjOHg1dqXX6xXXbxcfKYImG8lUcb4L7JTuDdv-X-qlhu5U8QXbgcHGK6_wmPy5CYBTmrqAI_H-eGdvl98Mpsi839belgv2uceCH6t5RnKBGGcFbqQ/s600/6.jpeg"/></a></div>
<b>Title:</b> Cup (2012).<br />
<b>Comment:</b> Jug with two handles (2013). Bust with pot (2013)<br />
<br />
For more that two decades, Angela Brennan has been well regarded as a painter of highly colored abstract shapes, playful texts, and laconic philosophical musings. At once cerebral and tactile, her work is marked by an irreverent humour and introduces a ribald, libidinous and sometimes lawless subjectivety into the formal realm of modernist painting. More recently, Brennan has returned to a childhood passion of making ceramics.<br />
<br />
For Melbourne Now, Brennan presents a trove of funky, wonky vessels, orbs and figures. Sometimes hand-built, other times thrown on a wheel, these works lovingly reference Bronze and the Iron Age artefacts, ceramics of Anatolian and Cypriot provenance the artist encountered on travels and in local museum collections, as well as antiquities and objects trouvés collected over the years. With an amateur yet studied technical experimentation, and a pleasure in the materiality of glazing, oxidization and earthenware firing, Brennan's works are made with poetic license and sensibility of a painter, rather than a potter, with their unorthodox forms and appendages - including feet, handles and lids - maintaining a sculptural rather than utilitarian demeanour.<br />
<br />
<b>Jane Brown</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHa5ca3JhKfea1oUvJomq2XFfjV6TeoREJfpY2ciPxcgflKFF_29Xsg7VNLYTXAat01vC2ZwAKW5yjZJA5TyQB3tZcQks-Fgyhu0sK199Kkz9AdnIg8ZRdbNhzzO_cFCxivJw8mnnRJ1FXJb3XU0l3rKbgxpcGZYj6OrFA9EcbJ5MfPwr8OCVfksHsZw/s889/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Jane Brown" border="0" width="500" data-original-height="721" data-original-width="889" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHa5ca3JhKfea1oUvJomq2XFfjV6TeoREJfpY2ciPxcgflKFF_29Xsg7VNLYTXAat01vC2ZwAKW5yjZJA5TyQB3tZcQks-Fgyhu0sK199Kkz9AdnIg8ZRdbNhzzO_cFCxivJw8mnnRJ1FXJb3XU0l3rKbgxpcGZYj6OrFA9EcbJ5MfPwr8OCVfksHsZw/s600/7.jpeg"/></a></div>
<b>Title:</b> Decommissioned Art History Library, University of Melbourne (2012-2013).<br />
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Jane Brown was born in Al Ahmadi, Kuwait, and lives and works in Melbourne (Australia). She studied photography at the Victorian College of the Arts (Melbourne, Australia) from 1996 to 1997, holds a Bachelor of Arts from the University of Melbourne and also a Graduate Diploma in Library and Information from RMIT University. Her first exhibition, 'A Hopeless Taste of Eternity,' was held in Melbourne in 2009 and two years later she held the solo exhibition, 'Afterlife,' at the Ballarat International Foto Biennale. In 2012, Brown's, Australian Gothic series was included in the exhibition CCP 'Declares - On the Nature of Things' - at the Centre for Contemporary Photography (Melbourne).<br />
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For Melbourne Now, Brown has produced the series, 'Not Before Time' (2013). Working with 'almost arcane' film and gelatin silver paper, she explores the transient nature of things, be it her chosen medium or melancholy subjects of decommissioned libraries, steam engines and doomed buildings waiting for the wrecking ball. These photographs prompt feelings of loss and unease, suggesting ghostly imprints rather than hard fast realities.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] T. Ellwood, Director, National Gallery of Victoria (Melbourne, Australia).</span>
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</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-73198886270706541682023-11-18T07:00:00.161+11:002023-11-18T07:00:00.145+11:00Pattern Designs by Veronica Galbraith [1]Artist ProfileMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Veronica Galbraith is a designer, originally from Colombia but now living permanently in Cornwell, UK. She graduated in Product Design many years ago but since then she has mostly worked in graphics for print and on the web. A few years ago she decided to specialize in Surface Pattern design. A hallmark of her style features prints with bold graphic elements, striking color combinations featuring a playful attitude. She has authored a blog about Surface Design Patterns called <a href="https:pitter-pattern.com">Pitter Pattern</a>.<br />
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All of her designs that are featured on this post have been sourced from reference [1].</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Pattern Designs by Veronica Galbraith[1]</b></span><br />
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<span style="font-family: Helvetica; font-size: 10pt;"><b>Geometric Designs.</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mEf_BiDNzTJqlBKexCncnUAWw7-7sV8llmk8aFUMggrOQhkx_gr_eCf6WMtbyehjBdsn4Z6JxIpJCikCYMAu7v8kYT4QeuUWeHn9WNbnnAir3RUxPWgHaUzf_55ZPSfcV8OEBGkHCjlkMLBunHByw7yPNrgT6KfJ2VZWRWSo_i57pU8nQRG1due4ZQ/s203/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Good Vibrations A" border="0" width="500" data-original-height="172" data-original-width="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mEf_BiDNzTJqlBKexCncnUAWw7-7sV8llmk8aFUMggrOQhkx_gr_eCf6WMtbyehjBdsn4Z6JxIpJCikCYMAu7v8kYT4QeuUWeHn9WNbnnAir3RUxPWgHaUzf_55ZPSfcV8OEBGkHCjlkMLBunHByw7yPNrgT6KfJ2VZWRWSo_i57pU8nQRG1due4ZQ/s600/1.jpeg"/></a></div>
Good Vibration A (2012).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtBKl_ODA-LyBo-Xz2kS3NJNyj5vu8o7KaQHgVkonmg9Vae3OzVRQCh8nFXGFGt2gExoMkRmhGNV5L6DJxZ0ebfykunuSjpu3rg-myBQEMNb_lBgVRML4f36JrlBPKVlsY3uBOppc_jE8dD11VQigyLBi5hxrieb5lAlyfjREm2-ieGkWE94x-oBFQig/s198/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Good Vibrations B" border="0" width="500" data-original-height="170" data-original-width="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtBKl_ODA-LyBo-Xz2kS3NJNyj5vu8o7KaQHgVkonmg9Vae3OzVRQCh8nFXGFGt2gExoMkRmhGNV5L6DJxZ0ebfykunuSjpu3rg-myBQEMNb_lBgVRML4f36JrlBPKVlsY3uBOppc_jE8dD11VQigyLBi5hxrieb5lAlyfjREm2-ieGkWE94x-oBFQig/s600/2.jpeg"/></a></div>
Good Vibration B (2012).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPzD1F57Yaa1b5PAYObO6gKLM1OkTEqtxfEIZ1eSZPHV10rN6FvddC-B0D8-VNmBL3Y7dk5fTvFAMC7DJDufYfVI9bbSAdCFUePs8B48Qm1jlPiQtY8sSvYHFu3EMbCObKZhTDcgO2X3JMfuluQK8B7bLcvI_Fd6rI2N6rm23Sc8HRaOmgyUOjqmzgDw/s421/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Good Vibrations C" border="0" width="500" data-original-height="189" data-original-width="421" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPzD1F57Yaa1b5PAYObO6gKLM1OkTEqtxfEIZ1eSZPHV10rN6FvddC-B0D8-VNmBL3Y7dk5fTvFAMC7DJDufYfVI9bbSAdCFUePs8B48Qm1jlPiQtY8sSvYHFu3EMbCObKZhTDcgO2X3JMfuluQK8B7bLcvI_Fd6rI2N6rm23Sc8HRaOmgyUOjqmzgDw/s600/3.jpeg"/></a></div>
Good Vibration C (2012).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxl_tj_xEFOB2vHmpqf076CAdaOqMfBSoiIMikAwjP9V2GXLLIRSAxISn5vwS5k74qQIeiQtbBdii3djwZLQFkPNp1iP_a5YCxV8EZinjzAqVHC2l24yfrHka8XtgbEQ-0Ssq1mLgUzQ05DipF7iu39oslPaHgXRjX5H5hpsu3DmW1MRKsw4B0kKHRmA/s414/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Bold Honeycomb A" border="0" width="500" data-original-height="190" data-original-width="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxl_tj_xEFOB2vHmpqf076CAdaOqMfBSoiIMikAwjP9V2GXLLIRSAxISn5vwS5k74qQIeiQtbBdii3djwZLQFkPNp1iP_a5YCxV8EZinjzAqVHC2l24yfrHka8XtgbEQ-0Ssq1mLgUzQ05DipF7iu39oslPaHgXRjX5H5hpsu3DmW1MRKsw4B0kKHRmA/s600/4.jpeg"/></a></div>
Bold Honeycomb A (2012).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTw_k6A58oIAfXlmtPE_CgYsCb_SU402TrJmxb9LutoLqhbsv_rozfhU5FPLARA8LBs0MUamoB--c_d8wiJ7XgA852nw3MFtfIB0-L0Ccjz9A8kmpO4BFwZc7lLk-8QT9E_mTEnIEfo2uN5ZipzsV9EbDgvF6j7bTafTXIYS_PjtBR5Cp6KNeQr7KSQ/s413/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Bold Honeycomb B" border="0" width="500" data-original-height="188" data-original-width="413" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSTw_k6A58oIAfXlmtPE_CgYsCb_SU402TrJmxb9LutoLqhbsv_rozfhU5FPLARA8LBs0MUamoB--c_d8wiJ7XgA852nw3MFtfIB0-L0Ccjz9A8kmpO4BFwZc7lLk-8QT9E_mTEnIEfo2uN5ZipzsV9EbDgvF6j7bTafTXIYS_PjtBR5Cp6KNeQr7KSQ/s600/5.jpeg"/></a></div>
Bold Honeycomb B (2012).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh92B4HD0Kb3RQ4cw8oSYlD5KGtOOwmx6gq4sWPa7NG8Hpq-AHPm4IIgZCSz48EGoi4MEFqK5ktyiAW7IUFbL6qW67fkJrz-qP7KkVZhV1COKlkrAZx1u75_XiXgMj-d6r9XS6lOfEaBzvK1XoULZzyECEl8ysDkBqzLAlWqLIlYsXDydooZgXLKeyiVA/s418/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Eye Candy" border="0" width="500" data-original-height="190" data-original-width="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh92B4HD0Kb3RQ4cw8oSYlD5KGtOOwmx6gq4sWPa7NG8Hpq-AHPm4IIgZCSz48EGoi4MEFqK5ktyiAW7IUFbL6qW67fkJrz-qP7KkVZhV1COKlkrAZx1u75_XiXgMj-d6r9XS6lOfEaBzvK1XoULZzyECEl8ysDkBqzLAlWqLIlYsXDydooZgXLKeyiVA/s600/6.jpeg"/></a></div>
Eye Candy (2012).<br />
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<b>Abstract</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ullmo8v6GrPmq1nATe5QLxTKa67YAIQEUjv3ewefU2XBA4jIHLMU8vU5N4n2gd7ZPJrYzlV6XQuSxgW8fdtVc1LI1FzyJdF6WY14BDxpSBR4EvbI1ohFyPII-zpBhaz1ngTYlzbRghYrsTvLUjlEhboeg0RtKtU4Nyjfxn0u3zlhNW5XmeoGge7MxA/s407/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Spice Swirls A" border="0" width="500" data-original-height="192" data-original-width="407" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ullmo8v6GrPmq1nATe5QLxTKa67YAIQEUjv3ewefU2XBA4jIHLMU8vU5N4n2gd7ZPJrYzlV6XQuSxgW8fdtVc1LI1FzyJdF6WY14BDxpSBR4EvbI1ohFyPII-zpBhaz1ngTYlzbRghYrsTvLUjlEhboeg0RtKtU4Nyjfxn0u3zlhNW5XmeoGge7MxA/s600/7.jpeg"/></a></div>
Spice Swirls A (2012).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBD91gV1QYsMNMTeHjaoAS4l1ZjO6ExU_lkKR9EsbPM__Y6ObzTbrYSEyDp3jzcKiYexvAK4B_n7l2VtvHiluOoFsGmLb6MSDSLdZJ0WKpQgf0Ii7i6evPIIAjKInfzclSBrFhMOE77wQl-kKXYI5QCDb1_BgLLggX_mxlkxjnLa2jnDnvIlX4M-OUxg/s412/8.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Spice Swirls B" border="0" width="500" data-original-height="194" data-original-width="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBD91gV1QYsMNMTeHjaoAS4l1ZjO6ExU_lkKR9EsbPM__Y6ObzTbrYSEyDp3jzcKiYexvAK4B_n7l2VtvHiluOoFsGmLb6MSDSLdZJ0WKpQgf0Ii7i6evPIIAjKInfzclSBrFhMOE77wQl-kKXYI5QCDb1_BgLLggX_mxlkxjnLa2jnDnvIlX4M-OUxg/s600/8.jpeg"/></a></div>
Spice Swirls B (2012).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7x1WZVBdQEzKkZREwZ64o5kRHGm0LwZQk2ksyUSj34BgB83C_ImCAEjxw5nKedMWXyyjcb3UgK6K5Y1iyFSpr_ohqRCPuuBr1cKHY0F35LZEqs4pkAKpiersMWNxKb0hBguUJ7QKlnxdCd1389QIf6tNkBqy50FJZhwV1-7mpejZrViJPrkerFzqGA/s411/9.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Spice Swirls B" border="0" width="500" data-original-height="191" data-original-width="411" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7x1WZVBdQEzKkZREwZ64o5kRHGm0LwZQk2ksyUSj34BgB83C_ImCAEjxw5nKedMWXyyjcb3UgK6K5Y1iyFSpr_ohqRCPuuBr1cKHY0F35LZEqs4pkAKpiersMWNxKb0hBguUJ7QKlnxdCd1389QIf6tNkBqy50FJZhwV1-7mpejZrViJPrkerFzqGA/s600/9.jpeg"/></a></div>
Spice Swirls B (2012).</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] K. O'Meara, The Pattern Base, Thames & Hudson London (2015).</span>
</div>
</div> Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-12212217878317049222023-11-11T07:00:00.104+11:002023-11-11T08:30:01.422+11:00Prints of Ken DonePrints on PaperMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Ken Done is an Australian icon who has become nationally and internationally renowned for his oil paintings, drawings, posters and prints. His iconic impressions of Sydney Harbour gave it a whole new artistic perspective that people did not believe could be possible. The so called 'Done' phenomenon suddenly expanded adorning all facets of human use from post cards, wall prints, tea shirts, bed sheets, duvet covers, pareos, dresses, sweatshirts and posters galore.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw5r_wWbqrLoiFM2VWUNFXmA6xmoie6sQm1etzuqcN5Hiwt2lOq6sV9zAddfPmdaEEk10vh5JIGWHxVv00tsFVHQrUAuoqlfaV27_nF2_zC5-BuMR41ZrR-rg1AOV8-jxLVk1VyifJhdi_ayUbvCiF05xd_pQgWj_ymBc7_JgVKEbB9slhae5WW8LHfA/s219/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="A Young Ken Done" border="0" height="600" data-original-height="219" data-original-width="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw5r_wWbqrLoiFM2VWUNFXmA6xmoie6sQm1etzuqcN5Hiwt2lOq6sV9zAddfPmdaEEk10vh5JIGWHxVv00tsFVHQrUAuoqlfaV27_nF2_zC5-BuMR41ZrR-rg1AOV8-jxLVk1VyifJhdi_ayUbvCiF05xd_pQgWj_ymBc7_JgVKEbB9slhae5WW8LHfA/s600/1.jpeg"/></a></div>
A young Ken Done.<br />
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Done was reported reflecting, 'I love it that people have a AUS$20 poster in their bedroom. Only a few would be able to pay for the original painting anyway. Art as an elite thing is in direct conflict to how it should be. Whether you wear it, or sleep on it doesn't matter to me. It's just another place for me to put a design on.'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzIhCbZuFxpul9alNv4-NjppnWfv7Fb3iTUgKSVJUjyjTJ84bO_KFY0JMAwNUC8Gr5aP6ZzPRNlWdUz78qiWkhkPZgFqilt9-WhEoUgpMzmzjyywsPCguKTYySDsztJFf6Z0GSDeeRYwo51qYDOZlUvGdAqcjcNoXwdmeLXN54uLvqr3eom1RDsdUh7w/s688/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Sydney 1980 Poster" border="0" height="600" data-original-height="688" data-original-width="497" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzIhCbZuFxpul9alNv4-NjppnWfv7Fb3iTUgKSVJUjyjTJ84bO_KFY0JMAwNUC8Gr5aP6ZzPRNlWdUz78qiWkhkPZgFqilt9-WhEoUgpMzmzjyywsPCguKTYySDsztJFf6Z0GSDeeRYwo51qYDOZlUvGdAqcjcNoXwdmeLXN54uLvqr3eom1RDsdUh7w/s600/2.jpeg"/></a></div>
Sydney 1980. Original oil crayon for a poster.<br />
Collection of the artist.<br />
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He has been a success on an international scale. At one stage you could buy his work in Bloomingdale's in New York, Neiman-Marcus in Dallas, Malibu in Los Angeles, Tokyo and Paris. In each case he integrates some aspects of the place into his designs, using words on images and words as images in a personal calligraphy that creates a new fusion of these elements. Kosta Boda in Sweden commissioned Done to work with a team of glass-blowers to create a series of designs around his parrot-fish theme.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjsFM4udsw2NxMjT9TOEe3cAmjEy6msVgGVBhrQRGZ-ap1z5QtINfJrTfcJI97ZIHJ9Q_3vJUJjULgS_GNNuyJ8ulgPeWXcNB-9jjgCLq2VPvo3hhYdYHHS_JF-63ro7ebD74__qDvMHWpzVz_PZDYRyqZ_08IyocSmskf8mOc-Y7dfcXnBKpxL1OoPg/s1440/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Glass Fish" border="0" width="500" data-original-height="1080" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjsFM4udsw2NxMjT9TOEe3cAmjEy6msVgGVBhrQRGZ-ap1z5QtINfJrTfcJI97ZIHJ9Q_3vJUJjULgS_GNNuyJ8ulgPeWXcNB-9jjgCLq2VPvo3hhYdYHHS_JF-63ro7ebD74__qDvMHWpzVz_PZDYRyqZ_08IyocSmskf8mOc-Y7dfcXnBKpxL1OoPg/s600/3.jpg"/></a></div>
Ken Done's Kosta Boda Art Glass Fish.<br />
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Done studied design at East Sydney Technical College under the stewardship of such teachers as John Coburn, John Passmore and Ted Drury. His first job was with the art studio, Smith & Julius, where well-known artists, like Roland Wakelin, Lloyd Rees, Percy Leason and Adrian Feint, all had applied themselves to the disciline of commercial art. Done worked in advertising for twenty years, winning many awards, including the coveted Cannes Gold Lion Award. Of this time he has said, 'Advertising made me dextrous and versatile. If I'd started as a painter, I think I would have felt confined.'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaA4bw6VVw1RKxfstshNWxqLJ3v1FhoZC1xmZB-foZuevIHwl8B145tTZxNuohL4DOzYhgkJGj7eKDsCgFh2qK0jsag39R7wTn6775Owx_cZFyAS68a1VaLVmmwC-nigaOjfqk3pNwpeEH7WPRGl5lqEmLwuyMApisYqgGVnsSWg7Uk0eGh5PZZ6NrM1aK/s1500/NAS.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="500" data-original-height="1200" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaA4bw6VVw1RKxfstshNWxqLJ3v1FhoZC1xmZB-foZuevIHwl8B145tTZxNuohL4DOzYhgkJGj7eKDsCgFh2qK0jsag39R7wTn6775Owx_cZFyAS68a1VaLVmmwC-nigaOjfqk3pNwpeEH7WPRGl5lqEmLwuyMApisYqgGVnsSWg7Uk0eGh5PZZ6NrM1aK/s600/NAS.jpg"/></a></div>
Originally an annexe to Sydney Technical College, it operated independently between 1955 and 1996 when it became the National Art School.<br />
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Ten years later he gave up his extremely successful career (among other positions, as Art Director/Creative Director for J. Walter Thompson in New York, London, and Sydney) to follow the dictates of his own imagination. Acceptance by a number of major Australian art competitions, including the Blake, Archibald and Sulman Prizes, which encouraged him, and in 1980 he held his first one-man exhibition at age 40. Since that time he has been walking the fragile edge between fine and commercial art with a finesse that has partially re-defined the traditional boundaries between the two. In the words of his own celebrated statement: 'I have no pretensions about where art can be found. I don't mind my work ending up on the back of a dunny door in Broome.'<br />
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There are many facets to Ken Done's art journey. Today we are featuring some of his most iconic prints on paper.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Prints of Ken Done</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGkHJpZmPKZLPafioJMzKXpiN3wJfQCtdYGr6MD64W6cQX_FSfN5wgU7594YWMVKgpO4bd1czP_9bVD7Hf6DiItK6Mtu_xg3uvQ-z5hUmWC4Y5D7G4jUMM1UxRHm7rCqa9J0rC5O9cviOJorq5Hgmz6kcQ-pf2bL9ApnPn0aRxyF4r1VDK3YkLPbhfKg/s704/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Silk Screen" border="0" height="600" data-original-height="704" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGkHJpZmPKZLPafioJMzKXpiN3wJfQCtdYGr6MD64W6cQX_FSfN5wgU7594YWMVKgpO4bd1czP_9bVD7Hf6DiItK6Mtu_xg3uvQ-z5hUmWC4Y5D7G4jUMM1UxRHm7rCqa9J0rC5O9cviOJorq5Hgmz6kcQ-pf2bL9ApnPn0aRxyF4r1VDK3YkLPbhfKg/s600/5.jpeg"/></a></div>
<span style="font-family: Helvetica; font-size: 10pt;"><b>Title:</b> Morning Glories (1984).<br />
<b>Description:</b> Silkscreen from original gouache drawing.<br />
<b>Size:</b> 51 x 65 cm.<br />
<b>Courtesy:</b> Art Directors Gallery, Sydney (Australia).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisAd0ovbDLqM9LC9xLYw6ulE7R7SSb13LOuHo25Db5avT8EiWKLHkIFCApPntXj3LoaabjJspn5--BMNarMM-H4Q15AgcBtt45MChdo5GCVacOF6Yd-r-B9ysLasCzOf6PhoKYwwwTWK0IUvDmBqqacr5pVhkAMw7gxJWZb5IJKvjMBaAWUTS2LX_nJA/s700/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Hibiscus" border="0" height="600" data-original-height="700" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisAd0ovbDLqM9LC9xLYw6ulE7R7SSb13LOuHo25Db5avT8EiWKLHkIFCApPntXj3LoaabjJspn5--BMNarMM-H4Q15AgcBtt45MChdo5GCVacOF6Yd-r-B9ysLasCzOf6PhoKYwwwTWK0IUvDmBqqacr5pVhkAMw7gxJWZb5IJKvjMBaAWUTS2LX_nJA/s600/6.jpeg"/></a></div>
<b>Title:</b> Hibiscus (1984).<br />
<b>Description:</b> Silkscreen from original gouache drawing.<br />
<b>Size:</b> 51 x 65 cm.<br />
<b>Courtesy:</b> Art Directors Gallery, Sydney (Australia).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3vT0CqyUGw45dFg6_coKhD0EEj3Z74aKXjwhcYx1ojGkxZDpMQ53o6m1pHTllN06yr4mFTg5U7QuaO9FUURm8m8oGQjJ9N4YtkRdcorL0EZJ7OvmtltCt-72CB7VMffopSBpz0MfzmMvrP4ltzWQ8fDNrqmTYGHMmVUfsAL28EdsVrEH1-zpZ6Nyy5w/s552/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Beach (1985)" border="0" width="500" data-original-height="399" data-original-width="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3vT0CqyUGw45dFg6_coKhD0EEj3Z74aKXjwhcYx1ojGkxZDpMQ53o6m1pHTllN06yr4mFTg5U7QuaO9FUURm8m8oGQjJ9N4YtkRdcorL0EZJ7OvmtltCt-72CB7VMffopSBpz0MfzmMvrP4ltzWQ8fDNrqmTYGHMmVUfsAL28EdsVrEH1-zpZ6Nyy5w/s600/7.jpeg"/></a></div>
<b>Title:</b> Beach (1985).<br />
<b>Description:</b> Silkscreen edition of 60 prints.<br />
<b>Size:</b> 69 x 52 cm.<br />
<b>Courtesy:</b> Art Directors Gallery, Sydney (Australia).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDdqK0VS4a1mlVrAH86ib9tMIlbtTKcItBwk9zOitzc6-RaN3eMPksD9ekcpj1wofy90lwTkpn72R-Igz1mm55CCRik-ggChd-ZllpJVvyPDSg4ZiM7N8-tGBQDiUj3KLZQNwFdTkN-LdaAtR7QlBTLB8BhKylzgeQ8rdIeKjd4xaLN0fY1O4-SHvYWQ/s478/8.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Early Morning Sailing (1985)" border="0" width="500" data-original-height="331" data-original-width="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDdqK0VS4a1mlVrAH86ib9tMIlbtTKcItBwk9zOitzc6-RaN3eMPksD9ekcpj1wofy90lwTkpn72R-Igz1mm55CCRik-ggChd-ZllpJVvyPDSg4ZiM7N8-tGBQDiUj3KLZQNwFdTkN-LdaAtR7QlBTLB8BhKylzgeQ8rdIeKjd4xaLN0fY1O4-SHvYWQ/s600/8.jpeg"/></a></div>
<b>Title:</b> Early Morning Sailing (1985).<br />
<b>Description:</b> Limited Edition Silkscreen.<br />
<b>Size:</b> 76 x 46 cm.<br />
<b>Courtesy:</b> Art Directors Gallery, Sydney (Australia).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ2n79p5RyWLR-sZGHq6IxOx0vdmefYN9dk0EnvGjeH3NjgtG27SkRjFEoUmC-cVrXsOIEus6Jwrtd5IW_QSkTXaTs-DLSZf6gEhJx-yG9ExCam9xNcod9e87UxdG1HoxuOP1A5NVn76YZM-ptZfLzSNtO4wM44UrV2YaPpZGeUNicodYs2RAMo_wwC2b_/s936/C.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Late Afternoon Sailing" border="0" width="500" data-original-height="620" data-original-width="936" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ2n79p5RyWLR-sZGHq6IxOx0vdmefYN9dk0EnvGjeH3NjgtG27SkRjFEoUmC-cVrXsOIEus6Jwrtd5IW_QSkTXaTs-DLSZf6gEhJx-yG9ExCam9xNcod9e87UxdG1HoxuOP1A5NVn76YZM-ptZfLzSNtO4wM44UrV2YaPpZGeUNicodYs2RAMo_wwC2b_/s600/C.jpeg"/></a></div>
<b>Title:</b> Late Afternoon Sailing (1985).<br />
<b>Description:</b> Limited Edition Silkscreen.<br />
<b>Size:</b> 76 x 46 cm.<br />
<b>Courtesy:</b> Art Directors Gallery, Sydney (Australia).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6EaZorSUzWqz59XgbfhVZLodfv-UNN_uQfOSMWH2zYF0vBpCB3UhKaRlsF0tizkw-Dskkq2ptJK-LkL-EYOca0OY12KtLB1crPr2tDikBGM8dIEMCbvMKNjlW0sXlChODypAzCBBYpTVfwesfjgkeQRayQv1IBflu01zttidN7RO41XbfBx66tvwIwQ/s546/10.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Beach" border="0" height="600" data-original-height="546" width="500" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6EaZorSUzWqz59XgbfhVZLodfv-UNN_uQfOSMWH2zYF0vBpCB3UhKaRlsF0tizkw-Dskkq2ptJK-LkL-EYOca0OY12KtLB1crPr2tDikBGM8dIEMCbvMKNjlW0sXlChODypAzCBBYpTVfwesfjgkeQRayQv1IBflu01zttidN7RO41XbfBx66tvwIwQ/s600/10.jpeg"/></a></div>
<b>Title:</b> Beach (1983).<br />
<b>Description:</b> Silkscreen from original crayon drawing. Edition of 50 prints.<br />
<b>Size:</b> 61 x 61 cm.<br />
<b>Courtesy:</b> original drawing in private collection, London.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIiBKKA1Ab-5MEi9IEKiNqG3ubJR02ZaBuCnxIuQFd-wpqxumMGbjFQFU9v74Y-nNCMccVs2kj3V3TTSI06Vw-FvmhZ3ME9QALRYj6of9fYid-X6cZfT-mfngna162k3nlX15uanlGNI9yI_kZpioUrRra5TKfqhvmJvoQvSqPmPuFywt-TEU50J4c_g/s695/11.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Frangipani" border="0" height="600" data-original-height="695" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIiBKKA1Ab-5MEi9IEKiNqG3ubJR02ZaBuCnxIuQFd-wpqxumMGbjFQFU9v74Y-nNCMccVs2kj3V3TTSI06Vw-FvmhZ3ME9QALRYj6of9fYid-X6cZfT-mfngna162k3nlX15uanlGNI9yI_kZpioUrRra5TKfqhvmJvoQvSqPmPuFywt-TEU50J4c_g/s600/11.jpeg"/></a></div>
<b>Title:</b> Frangipani (1984).<br />
<b>Desription:</b> Silkscreen.<br />
<b>Size:</b> 51 x 65 cm.<br />
<b>Courtesy:</b> Art Directors Gallery, Sydney (Australia).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCEOpteSHayZnnw44lH2-GIPS9N-DlyQczbFo0ck5Fmbs2N1_Cbubj302WGNvFcFF-TEskByitGdFvg0LyEXCH81FsPNd3iaGPNK-rSg5tPjlPO9WilboEYwF_pgEV2nwBGRY9M4Z2UD62VWCoZ5RFrYFbJOs6E_6_nmyfPSfzELC-btZt3ysMzC-EJw/s630/12.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Etching" border="0" height="600" data-original-height="630" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCEOpteSHayZnnw44lH2-GIPS9N-DlyQczbFo0ck5Fmbs2N1_Cbubj302WGNvFcFF-TEskByitGdFvg0LyEXCH81FsPNd3iaGPNK-rSg5tPjlPO9WilboEYwF_pgEV2nwBGRY9M4Z2UD62VWCoZ5RFrYFbJOs6E_6_nmyfPSfzELC-btZt3ysMzC-EJw/s600/12.jpeg"/></a></div>
<b>Title:</b> The First Etching (1984).<br />
<b>Description:</b> Edition of 25 etchings.<br />
<b>Size:</b> 45 x 53 cm.<br />
<b>Courtesy:</b> Art Directors Gallery, Sydney (Australia).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVdDDrIgp5G93nR3ORynZrpkxYG2KnTOHzrNUmRHM6jRnG9dth1qBt2ejF60yPfZdOkbs-5Lx8a8x8N4sMGY7OpVQ3sdbNUaiGzGWSdevpBanqehQLtmcdATmwU9S_tD21Y6rM5syGLSxICqSNgLKhVW7sO6s2BGE3DtwVDFOPlXHPJq-c1G5jBCt5WQ/s551/13.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Parrots (1985)" border="0" width="500" data-original-height="384" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVdDDrIgp5G93nR3ORynZrpkxYG2KnTOHzrNUmRHM6jRnG9dth1qBt2ejF60yPfZdOkbs-5Lx8a8x8N4sMGY7OpVQ3sdbNUaiGzGWSdevpBanqehQLtmcdATmwU9S_tD21Y6rM5syGLSxICqSNgLKhVW7sO6s2BGE3DtwVDFOPlXHPJq-c1G5jBCt5WQ/s600/13.jpeg"/></a></div>
<b>Title:</b> Parrots (1985).<br />
<b>Description:</b> Limited edition of 60 silkscreen prints.<br />
<b>Size:</b> 67 x 45.5 cm.<br />
<b>Courtesy:</b> Art Directors Gallery, Sydney (Australia).</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] K. Done, Paintings, Drawings, Posters and Prints, Craftsman House, Seaforth, NSW.</span>
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</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-28161142874323130492023-11-04T07:00:00.244+11:002024-03-04T11:16:13.434+11:00Classification of Pigments - Part III [1]Art ResourceMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">This is the twenty-seventh post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:<br />
<a href="https://artquill.blogspot.com/2021/08/drawing-art-resource-marie-therese.html">Drawing Art</a><br />
<a href="https://artquill.blogspot.com/2021/09/painting-part-i-art-resource-marie.html">Painting Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2021/10/painting-part-ii-art-resource-marie.html">Painting Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2021/11/painting-part-iii1-art-resource-marie.html">Painting Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2021/12/painting-part-iv-art-resource-marie.html">Painting Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/painting-art-part-v-1-art-resource.html">Painting Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/02/painting-art-part-vi-1-art-resource.html">Painting Art - Part VI</a><br />
<a href="https://artquill.blogspot.com/2022/03/home-made-painting-art-materials-art.html">Home-Made Painting Art Materials</a><br />
<a href="https://artquill.blogspot.com/2022/04/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/05/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/06/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/07/historical-notes-on-art-part-i-1-art.html">Historical Notes on Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/08/historical-notes-on-art-part-ii-1-art.html">Historical Notes on Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/09/historical-notes-on-art-part-iii-1-art.html">Historical Notes on Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/10/historical-notes-on-art-part-iv-1-art.html">Historical Notes on Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/historical-notes-on-art-part-v-1-art.html">Historical Notes on Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/12/tempera-painting-1-art-resource-marie.html">Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2023/02/oil-painting-part-i-1-art-resource.html">Oil Painting - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/01/oil-painting-part-ii-1-art-resource.html">Oil Painting - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/04/oil-painting-part-iii-1-art-resource.html">Oil Painting - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/05/oil-painting-part-iv-art-resource-marie.html">Oil Painting - Part IV</a><br />
<a href="https://artquill.blogspot.com/2023/06/oil-painting-part-v-1-art-resource.html">Oil Painting - Part V</a><br />
<a href="https://artquill.blogspot.com/2023/07/oil-painting-part-vi-1-art-resource.html">Oil Painting - Part VI</a><br />
<a href="https://artquill.blogspot.com/2023/08/pigments-1-art-resource-marie-therese.html">Pigments</a><br />
<a href="https://artquill.blogspot.com/2023/09/classification-of-pigments-part-i-1-art.html">Classification of Pigments - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/10/classification-of-pigments-part-ii-1.html">Classification of Pigments - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/11/classification-of-pigments-part-iii-1.html">Classification of Pigments - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/12/pigments-for-oil-painting-1-art.html">Pigments for Oil Painting</a><br />
<a href="https://artquill.blogspot.com/2024/01/pigments-for-water-color-1-art-resource.html">Pigments for Water Color</a><br />
<a href="https://artquill.blogspot.com/2024/02/pigments-for-tempera-painting-art.html">Pigments for Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2024/03/pigments-for-pastel-1-art-resource.html">Pigments for Pastel</a><br />
<br />
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:<br />
(i) Units used in dyeing and printing of fabrics;<br />
(ii) Occupational, health & safety issues in an art studio;<br />
(iii) Color theories and color schemes;<br />
(iv) Optical properties of fiber materials;<br />
(v) General properties of fiber polymers and fibers - Part I to Part V;<br />
(vi) Protein fibers;<br />
(vii) Natural and man-made cellulosic fibers;<br />
(viii) Fiber blends and melt spun fibers;<br />
(ix) Fabric construction;<br />
(x) Techniques and woven fibers;<br />
(xi) Basic and figured weaves;<br />
(xii) Pile, woven and knot pile fabrics;<br />
(xiii) Durable press and wash-and-wear finishes;<br />
(xvi) Classification of dyes and dye blends;<br />
(xv) The general theory of printing.<br />
<br />
To access any of the above resources, please click on the following link - <a href="https://artquill.blogspot.com.au/2012/04/units-used-in-dyeing-and-printing-of.html">Units Used in Dyeing and Printing of Fabrics</a>. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the <a href="https://artquill.blogspot.com.au/2012/03/glossary-of-terms-and-fabrics-1-13-art.html">Glossary of Cultural and Architectural Terms</a>, <a href="https://artquill.blogspot.com.au/2014/01/timelines-of-fabrics-dyes-and-other.html">Timelines of Fabrics, Dyes and Other Stuff</a>, <a href="https://artquill.blogspot.com.au/2015/12/a-fashion-data-base-edition-1-art.html">A Fashion Data Base</a>, the <a href="https://artquill.blogspot.com.au/2016/03/glossary-of-colors-dyes-inks-pigments.html">Glossary of Colors, Dyes, Inks, Pigments and Resins</a>, the <a href="https://artquill.blogspot.com.au/2016/07/glossary-of-fabrics-fibers-finishes.html">Glossary of Fabrics, Fibers, Finishes, Garments and Yarns</a>, <a href="https://artquill.blogspot.com.au/2017/05/glossary-of-art-artists-art-motifs-and.html">Glossary of Art, Artists, Art Motifs and Art Movements</a>, <a href="https://artquill.blogspot.com.au/2018/01/glossary-of-paper-photography-printing.html">Glossary of Paper, Photography, Printing, Prints and Publication Terms</a> and the <a href="https://artquill.blogspot.com/2019/01/glossary-of-scientific-terms-version-35.html">Glossary of Scientific Terms</a>. All data bases in the future will be updated from time-to-time.<br />
<br />
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.<br />
<br />
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">This blogspot contains a number of glossaries and the most pertinent with respect to posts on pigments is the following Glossary: click on this link to see - <a href="https://artquill.blogspot.com/2016/03/glossary-of-colors-dyes-inks-pigments.html">Glossary of Colors, Dyes Inks and Pigments</a>. Hence the following posts on pigment will not define such pigments as 'Academy Blue,' which is defined in this glossary.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Classification of Pigments - Part III [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;"><b>Masstone and Undertone</b><br />
The full-strength surface color of a pigment viewed by reflected light is called its mass or top tone; its color effect when it is spread out thinky is called its undertone.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQm0RN8j3cSmlqtudanxUnLcipUicAfAPFKbUuiM_JfZQxDlKgZFS-syU5gytnh0tOztpN4dT24zXNWQ6k_XZTS7DtXI2ZRGDPE8pJTXTetiyyxuQO8e8cFK7JriS-K26prQkAz_7i7NUiPx_sCRlvIXNvWGSN87x87W1Fo7bwoslHiLkiVavFHn2MpQ/s3261/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Undertone" border="0" height="600" data-original-height="3261" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQm0RN8j3cSmlqtudanxUnLcipUicAfAPFKbUuiM_JfZQxDlKgZFS-syU5gytnh0tOztpN4dT24zXNWQ6k_XZTS7DtXI2ZRGDPE8pJTXTetiyyxuQO8e8cFK7JriS-K26prQkAz_7i7NUiPx_sCRlvIXNvWGSN87x87W1Fo7bwoslHiLkiVavFHn2MpQ/s600/1.jpeg"/></a></div><br />
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The undertone is discerned when a transparent color is spread out on glass and viewed by transmitted light or when an opaque color is used as a tinting color, diluted with much white. Some pigments have undertones which are dstinctively different from their toptones; this is apparent in the average alizarin when it is viewed on a thin layer of glass held up to the light, or drawn out on paper.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5R850frRhuoYhpOl0GbegzLnZ-Y6DLNs9YSuA4gVvxSTQvnuHImmhsM3pHeCAGBppXohY8QqmLJ0l6mPw_nF_37bjtCL4lorTQsxilB-3V6lf69x8L3i-rbv6jCDvOiAn_EaUZrrgBpqvQf1Awt0MdfKHN22XH1kRIS4CGzU5-xkj_anI0E4I8vlLQg/s1098/2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Martisse Flow Acrylic" border="0" height="600" data-original-height="1098" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5R850frRhuoYhpOl0GbegzLnZ-Y6DLNs9YSuA4gVvxSTQvnuHImmhsM3pHeCAGBppXohY8QqmLJ0l6mPw_nF_37bjtCL4lorTQsxilB-3V6lf69x8L3i-rbv6jCDvOiAn_EaUZrrgBpqvQf1Awt0MdfKHN22XH1kRIS4CGzU5-xkj_anI0E4I8vlLQg/s600/2.jpg"/></a></div>
Matisse Flow Acrylic 75ml S3 - Brilliant Alizarin Crimson drawn out on paper.<br />
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Some synthetic organic reds used as industrial printing ink colors have such a bluish undertones that they can be used to produce two-toned effects. Other pigments display little or no differences between their toptones and their undertone. The paint chemists generally use the term "mass colors" instead of "mass tones."<br />
Note: Masstone is the color of the paint that comes straight out of the tube. Undertone is found in the same color once it has been stretched out or diluted.<br />
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In the example below, khaki is the masstone. The color on the left has red undertones and the color on the right has blue undertones.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOZFx54l0QeWuPCS2gflCh0hU0xEBu3qqGO77v7w7VxOaRpq7OkzhvwZZiNWz4Wlvel5jL3ZFwZVIMbM9LfQdM6AnpRybyLLH-Z2xzs4Q297Wshk9dvwfOaURXeRdHI_Lc1R90wwILFyaQFwe81RLXdM3zZ3bVnQNROMTMI8W7jTy9-EFBg4gxqiswiQ/s550/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Undertones" border="0" width="500" data-original-height="216" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOZFx54l0QeWuPCS2gflCh0hU0xEBu3qqGO77v7w7VxOaRpq7OkzhvwZZiNWz4Wlvel5jL3ZFwZVIMbM9LfQdM6AnpRybyLLH-Z2xzs4Q297Wshk9dvwfOaURXeRdHI_Lc1R90wwILFyaQFwe81RLXdM3zZ3bVnQNROMTMI8W7jTy9-EFBg4gxqiswiQ/s600/3.jpg"/></a></div><br />
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<b>Composition of Pigments</b><br />
It should be noted that the chemical purity of pigments varies greatly; some are simple, almost pure compounds as described; others of equally high quality contain minor components either as natural impurities or as a result of ingredients added during manufacture to modify color or pigment properties.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXn6wVc0xcCtUlttnXCRcfe6-IAocOoEyxFgiIsg7se4jdcw8y7mvQHewYF1WVJAKzXd464nlNs_5E7BV-mKwryLy5lBqYJ21B8LnLCskCFbybrRQWAIdsZhKDsl8j30vY7BOsuMrTe9Zevnejy-Z2avCH8kaE75fayTJ3VGSTgBTxo5MvdE5n0bqK7g/s620/4.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Pigments" border="0" width="500" data-original-height="360" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXn6wVc0xcCtUlttnXCRcfe6-IAocOoEyxFgiIsg7se4jdcw8y7mvQHewYF1WVJAKzXd464nlNs_5E7BV-mKwryLy5lBqYJ21B8LnLCskCFbybrRQWAIdsZhKDsl8j30vY7BOsuMrTe9Zevnejy-Z2avCH8kaE75fayTJ3VGSTgBTxo5MvdE5n0bqK7g/s600/4.jpg"/></a></div>
The recent introduction of our Cadmium Free paint lines underscores the importance and obvious benefits of using top quality pure pigments, even in blended colors. Earlier generation synthetic-organic pigments could be combined to offer a functionally similar cadmium "hue", but these mixtures, while offering economical, non-toxic alternatives to real cadmiums, came far short of the genuine pigments in terms of tint strength, covering power and lightfastness. The introduction of newer, premium-quality synthetics made it possible to formulate full-fledged cadmium replacements which, despite being composed of multiple pigments, offer virtually the same appearance, performance and durability as original cadmiums. The Cadmium Free assortment is just the latest example of our continuing commitment to using pure, authentic pigments and bringing each one to its best advantage.<br />
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<b>Nomenclature</b><br />
Pigments are named for their resemblances to objects in nature, for their inventors, their places of origin, the purposes for which they are used, and for their chemical compositions or derivations.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIIyOMxCLWPwCL8mAASWMJl66XwHsnwJBINhnNvDAwDUg-jb2zsD9rET8x3_WIzC55XTOaZYDzA1qIJn1SzIn48oFKR9klvI6aJkPCNivi6n4XxE5I9eQH6xreXOBxW3RCDchPwFsjQuiKaDfJL22QTHvtigr5alDg3Sp5e9VYgOpFNSyDTNF2nQplrA/s309/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Nomenclature" border="0" width="500" data-original-height="163" data-original-width="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIIyOMxCLWPwCL8mAASWMJl66XwHsnwJBINhnNvDAwDUg-jb2zsD9rET8x3_WIzC55XTOaZYDzA1qIJn1SzIn48oFKR9klvI6aJkPCNivi6n4XxE5I9eQH6xreXOBxW3RCDchPwFsjQuiKaDfJL22QTHvtigr5alDg3Sp5e9VYgOpFNSyDTNF2nQplrA/s600/5.jpg"/></a></div>
The opening up of trade routes in the 18th century, coupled with advances in technology and science, allowed for greater experimentation. In 1704, the German color maker Johann Jacob Diesbach created Prussian blue by accident in his laboratory. This became the first chemically synthesised color.<br />
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For centuries the nomenclature of pigments was confusing and unsystematic. The principal cause of confusion was the labeling of colors with fancy names by manufacturers and others, often for some ulterior motive. This has caused a single color to be known by a dozen different names and two or more entirely different colors to be known by the same name.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiwCzF3RlPfbgaLYaStcCVWVPkeEN01lexulPkbAcAmwpdBKZ9W3KYojsTfFIy3lOc3Ja6l9ChqPlRAWGZpS8sw9QxAijFXJy_wKZri87pEbSGY1t9viBIA7RzyRS90jczvW9B5thwS7ERk9gJGwoZtVtAC8mLUysm4SYx1szqzbo0Kq_mNLddxPGMvg/s840/6.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Color thesaurus" border="0" width="500" data-original-height="448" data-original-width="840" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiwCzF3RlPfbgaLYaStcCVWVPkeEN01lexulPkbAcAmwpdBKZ9W3KYojsTfFIy3lOc3Ja6l9ChqPlRAWGZpS8sw9QxAijFXJy_wKZri87pEbSGY1t9viBIA7RzyRS90jczvW9B5thwS7ERk9gJGwoZtVtAC8mLUysm4SYx1szqzbo0Kq_mNLddxPGMvg/s600/6.jpg"/></a></div>
Color thesaurus illustrating correct name shades. Some look distinctively very similar.<br />
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In recent decades attempts have been made to adopt Paint Standards that overcome obvious anomalities.<br />
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As a general rule, the manufacturer of a prepared or mixed color or similar material sold under a trademark name or under some indefinite designation such as "permanent green" or "primrose yellow", is not at all bashful about revealing its true composition when it is made of high grade approved ingredients, because they get credit for the use of correct or expensive raw materials. Products whose composition is kept secret have the disadvantage of being under suspicion. Artists who are concerned with the permanence of their work are advised to select only those colors whose pigment origin is clearly indicated by name.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK3u00GKypPD5pWHiGS3Llqd-4xc7p_gfdtjh04mumPRr-iQm3PZIkQTgH7m8EYchKf4R8JkWcgqcYk_tFZU-dUdl4gg1KHMROoiLmWywYkNfUTheWv_vl9UXJaO3BE8MW-E1uMcAuHZsetlZceRQzJ4r_sn5OApHRPddw24nmeqYtJA68KB2Lj4ob9g/s1000/7.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Permanent green water color" border="0" width="500" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK3u00GKypPD5pWHiGS3Llqd-4xc7p_gfdtjh04mumPRr-iQm3PZIkQTgH7m8EYchKf4R8JkWcgqcYk_tFZU-dUdl4gg1KHMROoiLmWywYkNfUTheWv_vl9UXJaO3BE8MW-E1uMcAuHZsetlZceRQzJ4r_sn5OApHRPddw24nmeqYtJA68KB2Lj4ob9g/s600/7.jpg"/></a></div>
Permanent Green Watercolor.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTLBwd4wu1sMGDIHdQCNP-D3Z-aOzCFWs0Rwbpp9Kw7RRpWcNPlFsw_nmT8-PIBHlVYcb6-Hyv_cfp1PwCr-GB58aXRhqvgDXMQxGbbD_DVZ76uBwR29-5-q6PIUMJju9rFjXg7SKGNOYc_6N-6H_xo27zW6uB_0i7_1YQ0rm243AGSl9zaTa8NM9CZQ/s700/8.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Primrose Yellow" border="0" width="500" data-original-height="700" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTLBwd4wu1sMGDIHdQCNP-D3Z-aOzCFWs0Rwbpp9Kw7RRpWcNPlFsw_nmT8-PIBHlVYcb6-Hyv_cfp1PwCr-GB58aXRhqvgDXMQxGbbD_DVZ76uBwR29-5-q6PIUMJju9rFjXg7SKGNOYc_6N-6H_xo27zW6uB_0i7_1YQ0rm243AGSl9zaTa8NM9CZQ/s600/8.jpg"/></a></div>
Primrose Yellow.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).</span>
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</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-45966634312119138332023-10-28T07:00:00.136+11:002023-10-29T08:43:44.398+11:00CycleArtist ProfileMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">One of my passions is to create Post-Graffiti artwork on cloth as well as on prints on paper. A series of posts on this blog spot have addressed issues in Graffiti and Post Graffiti Art as well as presenting images of such art. I have listed links to some of these posts below for your convenience.<br />
<a href="https://www.artquill.blogspot.com.au/2011/05/time-dimension-in-art-art-essay-marie.html">Time Dimension in Art</a><br />
<a href="https://www.artquill.blogspot.com.au/2011/05/unleashed-rise-of-australian-street-art.html">Unleashed: The Rise of Australian Street Art</a><br />
<a href="https://www.artquill.blogspot.com.au/2011/09/where-and-when-does-act-of-engagement.html">Act of Engagement</a><br />
<a href="https://www.artquill.blogspot.com.au/2011/09/new-york-spray-can-memorials-backdrop.html">New York Spray-Can Memorials</a><br />
<a href="https://www.artquill.blogspot.com.au/2011/10/another-brick-post-graffiti-artcloth.html">Another Brick</a><br />
<a href="https://artquill.blogspot.com.au/2012/01/letter-to-friend-making-of-artist.html">A Letter to a Friend</a><br />
<a href="https://www.artquill.blogspot.com.au/2012/04/making-of-cultural-graffiti-series-post.html">Cultural Graffiti</a><br />
<a href="https://www.artquill.blogspot.com.au/2012/05/beyond-fear-of-freedom-artist.html">Beyond the Fear of Freedom</a><br />
<a href="https://www.artquill.blogspot.com.au/2013/08/my-fabric-collection-oh-oh-marilyn-and.html">Oh, Oh Marilyn and Mona@Spoonflower</a><br />
<a href="https://artquill.blogspot.com.au/2014/06/neu-kunst-mona-marilyn-post-graffiti.html">Neu Kunst: Mona & Marilyn</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Cycle</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Cycle acquired his nom de plume during his college days. During anthropology classes he used to sit at the back of the auditorium with his notebook. Instead of taking notes he would draw whatever the professor put up on the screen. When the professor was using the word, 'life-cycle,' it just resonated with him. Hence his nom de plume, 'Cycle.'<br />
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Growing up in Connecticut he noticed graffiti around 1986 during his freshman year at high school, but he didn’t start doing his own graffiti until 1989. He grew up on the Connecticut-New York border, and so his Dad would take him to the city to see the Mets. Living in such close proximity to the city, it’s the New York graffiti he paid attention to. At that time (1989-90) there still wasn’t any record of graffiti in media like books or the internet. There weren't articles in magazines or elsewhere that featured this new rising form of art. The only media record was the “Style Wars” documentary movie, which he see until much later, and there was Henry Chalfant’s book “Subway Art”. Since there was not graffiti media he had to go out on the street to search it out. 'I didn’t even know that there was really any graffiti anywhere else. So coming to the city looking at stuff, among the first people who I really appreciated were Bio, T-Kid, SaneSmith and Sento.'<br />
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Like other big names in the Graffiti scene, Cycle was influenced first hand by the writers who originated the famous New York City subway train style and he became an active part of its evolution. An avid drawer as a child, he nonetheless had to find his own way into making art, rebelling against established art forms and inventing new styles in graffiti and illustration over and over again to become one of the most skillful letter benders of our time. Cycle is known for experimentation and trying new things. The vast diversity of his graffiti pieces and illustrations often confuse people into thinking that he is more than one person. Always looking for a new challenge, Cycle recently has become serious about switching from the spray can to the brush. In the past months he has been working on an art show featuring new paintings, which are now on display at Ad Hoc Art in Brooklyn. A few days before the opening, NYAB met him at his studio to see the new work and ask a few questions.<br />
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More recently he has turned his hand to painting. 'Painting is something new to me and I have my mind set on how far I can push myself in this medium. There is a learning curve but in some ways the graffiti is the prequel to what’s going on here.'<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDNBDhM-D3j6VCJseGhRNA7YJfhLNt8kKKLrjiO3E45L5B8jIjrtpQYXeldmuh9V8y1ami5_XAtQBcoFkpkLIGb7I5aeV2BL10RKMSxx4KijwUnummebHCVL_9ehBqNG2yullLFTp44v98L6JGHPBG84M7MQapoJD1pT6VjAexbZCUARYpdue6YAWTCg/s518/1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cycle at work" border="0" width="500" data-original-height="352" data-original-width="518" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDNBDhM-D3j6VCJseGhRNA7YJfhLNt8kKKLrjiO3E45L5B8jIjrtpQYXeldmuh9V8y1ami5_XAtQBcoFkpkLIGb7I5aeV2BL10RKMSxx4KijwUnummebHCVL_9ehBqNG2yullLFTp44v98L6JGHPBG84M7MQapoJD1pT6VjAexbZCUARYpdue6YAWTCg/s600/1.jpg"/></a></div>
Cycle at work.<br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7W6cIGS_pFhGNNEqOgmeHy3Z1nkK8IBkWMruPkiHsAQGZVmP5MH9WT4a8ClzDqUX9NCaCqZ_leIf07_ixqDAnVtxhotRwhUzHufVVL-oJ9HIM_Q8XrswPLz4m_SVaEWPQMgN1NsbLFgyIsPhPqTNTussHZeyrg-Icv0BFFJHYsx72e370xi3bDnUNlA/s509/2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="HummingCee" border="0" height="600" data-original-height="509" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7W6cIGS_pFhGNNEqOgmeHy3Z1nkK8IBkWMruPkiHsAQGZVmP5MH9WT4a8ClzDqUX9NCaCqZ_leIf07_ixqDAnVtxhotRwhUzHufVVL-oJ9HIM_Q8XrswPLz4m_SVaEWPQMgN1NsbLFgyIsPhPqTNTussHZeyrg-Icv0BFFJHYsx72e370xi3bDnUNlA/s600/2.jpg"/></a></div>
<b>Title:</b> HummingCee.<br />
<b>Media:</b> Mixed Media on Wood.<br />
<b>Size:</b> 11” x 20”.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6pfKVklTE2rU9pA5OtXdyTCq_CgwMBntxPOLFgGTHiWA7dRZWYfTUdQkPBEYt5mPL5TwdBOgBFgbvawxPSDafuZ-xELouHPd-VHzKZh8Gr6AORDnIayGBIGwnNSGy7MNz7DKhemetHVXzi86pfSoYVwsmAvDGxKCqJxoBO3vKxZr3Pwfq82Sxeh5jQ/s456/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Rex" border="0" height="600" data-original-height="456" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6pfKVklTE2rU9pA5OtXdyTCq_CgwMBntxPOLFgGTHiWA7dRZWYfTUdQkPBEYt5mPL5TwdBOgBFgbvawxPSDafuZ-xELouHPd-VHzKZh8Gr6AORDnIayGBIGwnNSGy7MNz7DKhemetHVXzi86pfSoYVwsmAvDGxKCqJxoBO3vKxZr3Pwfq82Sxeh5jQ/s600/3.jpg"/></a></div>
<b>Title:</b> Rex.<br />
<b>Media:</b> Mixed Media on Canvas.<br />
<b>Size:</b> 68“ x 43.5“.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk2fNvsriwbnhi2f36Cjch3wBO7HgPIZrNagv8XH2IiaqWgE6UunH97UeYenoLb3Zdk2vDmTgbi42BuzDWQlAKy7AZnH6557NZPWLCf_QJAJ4rm_Rjn1J9K6KT6uc2kijUlWQTYWrtPO-myidqBggslYC9uD0f-qIeNflC498OSBgC_VpA6O2LPHMZmQ/s399/4.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kuiper" border="0" height="600" data-original-height="399" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk2fNvsriwbnhi2f36Cjch3wBO7HgPIZrNagv8XH2IiaqWgE6UunH97UeYenoLb3Zdk2vDmTgbi42BuzDWQlAKy7AZnH6557NZPWLCf_QJAJ4rm_Rjn1J9K6KT6uc2kijUlWQTYWrtPO-myidqBggslYC9uD0f-qIeNflC498OSBgC_VpA6O2LPHMZmQ/s600/4.jpg"/></a></div>
<b>Title:</b> Kuiper.<br />
<b>Media:</b> Mixed Media on Canvas.<br />
<b>Size:</b> 48“ x 36“.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0rA6i365fatqL66OmBnujYXtXZQBKX6RfM09DQXTSYIrR1ya1Q7loav4KXXypytG_22J_A8jdPsWi-JAi8Sfp5LXq-NdeDz-JwhbpM4ulZSE0Hxc1RONrzx57cmLibnaUPsFNmzslwAsH6LxHyciXHHq80SlTCKS3d3kim_4SZggAJ0ht1WORgUaZpQ/s490/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Art" border="0" width="500" data-original-height="245" data-original-width="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0rA6i365fatqL66OmBnujYXtXZQBKX6RfM09DQXTSYIrR1ya1Q7loav4KXXypytG_22J_A8jdPsWi-JAi8Sfp5LXq-NdeDz-JwhbpM4ulZSE0Hxc1RONrzx57cmLibnaUPsFNmzslwAsH6LxHyciXHHq80SlTCKS3d3kim_4SZggAJ0ht1WORgUaZpQ/s600/5.jpeg"/></a></div>
Cycle's Graffiti Art.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb6iWgfm-TuviD74tgeu9vwmheqWU-Lc4xHfgArY22C5hWgSBWJ3nqiM7HpBIB0cK-Z8fT-F2UH3-yBmxj8Zf8K4fNzNCyDFpRfteYLM8eqjCVdqJkaJBz1dx7bkEFUJ3SH5QsS46tv1uWyewYteTxBsTNJpMzm9UcYPa8qdwMI3zqYezL3Rf0ridqkQ/s491/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Art" border="0" width="500" data-original-height="303" data-original-width="491" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb6iWgfm-TuviD74tgeu9vwmheqWU-Lc4xHfgArY22C5hWgSBWJ3nqiM7HpBIB0cK-Z8fT-F2UH3-yBmxj8Zf8K4fNzNCyDFpRfteYLM8eqjCVdqJkaJBz1dx7bkEFUJ3SH5QsS46tv1uWyewYteTxBsTNJpMzm9UcYPa8qdwMI3zqYezL3Rf0ridqkQ/s600/6.jpeg"/></a></div>
Cycle's Graffiti Art.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_EG6Jqm_4nCJjfn_g4GLVhQ1VsygavgmV9yR602A4C7lfZuZp1p7eMqp5wUd0Y-k2ceTEd-_TUcl1iN00Me0JzJF1TbkD-cViyvrQfCVlqkL_XpXk1yl8x95UWshFpQBThrR8wxJH_IWnwRAO493K7xsINzdQM9SWQp-G3fmWlpxmr6AUcgQWtjXrwQ/s487/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Art" border="0" width="500" data-original-height="234" data-original-width="487" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_EG6Jqm_4nCJjfn_g4GLVhQ1VsygavgmV9yR602A4C7lfZuZp1p7eMqp5wUd0Y-k2ceTEd-_TUcl1iN00Me0JzJF1TbkD-cViyvrQfCVlqkL_XpXk1yl8x95UWshFpQBThrR8wxJH_IWnwRAO493K7xsINzdQM9SWQp-G3fmWlpxmr6AUcgQWtjXrwQ/s600/7.jpeg"/></a></div>
Cycle's Graffiti Art.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7N_F4NofWtmuH-kle7gi3Ykrje1YtMREExhkNsMXsm8eLW-RxoL2ZKYA4hacKwTF0kANzViu9T-JyeHWVWLVyU6sriLEWHp3m5biBjal4JRwp7b9bxQySbWZIsbkqOi9f8jyrANbpLENaUll0Ts1czTZaKidCNYYMc7UsPxq4ivPO4zv0fqVtQCpAXg/s589/8.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Art" border="0" width="500" data-original-height="239" data-original-width="589" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7N_F4NofWtmuH-kle7gi3Ykrje1YtMREExhkNsMXsm8eLW-RxoL2ZKYA4hacKwTF0kANzViu9T-JyeHWVWLVyU6sriLEWHp3m5biBjal4JRwp7b9bxQySbWZIsbkqOi9f8jyrANbpLENaUll0Ts1czTZaKidCNYYMc7UsPxq4ivPO4zv0fqVtQCpAXg/s600/8.jpeg"/></a></div>
Cycle's Graffiti Art.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiExGt69-YZ7VwEI6cObms-ZSlyCeCpP3jqOtFJb4msbrMSonjVU4Q2aALse9zHY0npdkl_ueKt4nfXs49I-Wx3W5Po6EAoUfRynDSly8veqbiC9p1G3rVaiPR8BFPV4rusu595qehUYWmrdspDMVGPHWVFUzbY5CTpcuRo9MMCfub00YTcPwYyFvGohQ/s589/9.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Graffiti Art" border="0" width="500" data-original-height="406" data-original-width="589" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiExGt69-YZ7VwEI6cObms-ZSlyCeCpP3jqOtFJb4msbrMSonjVU4Q2aALse9zHY0npdkl_ueKt4nfXs49I-Wx3W5Po6EAoUfRynDSly8veqbiC9p1G3rVaiPR8BFPV4rusu595qehUYWmrdspDMVGPHWVFUzbY5CTpcuRo9MMCfub00YTcPwYyFvGohQ/s600/9.jpeg"/></a></div>
Cycle's Graffiti Art.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] The Art of Getting Over Graffiti at the Millennium, S. Powers, St. Martin's Press, New York (1999).</span>
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</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-68298942937258210812023-10-21T07:00:00.016+11:002023-10-29T08:46:00.253+11:00Posters from World War II On Since 1940s - Part II [1]Prints of PaperMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">For your convenience I have listed below all the posts in this series:<br />
<a href="https://artquill.blogspot.com/2023/09/posters-from-world-war-ii-on-since.html">Posters from World War II On Since 1940s - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/02/posters-from-world-war-ii-on-since.html">Posters from World War II On Since 1940s - Part II</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Posters from World War II On (Since 1940s) - Part II [1]</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix8dyfc9d4Cd6YK9hpJ1lwh2ULj0v4YiJGO2KGvI9sJ5xVawVCJ_dX2KPRN2u-boGuXIxrKmYqFWS787mxlopKHKUniouTeyKdo8r5AuKD20FCxWgJmD_kS9m9vDwu360VHae4khv7No3WEBfF0IqLlf7cDPPozelxR_f1_FIKaABhxA98tdBhdIHzmw/s245/A.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Post World War 2" border="0" height="600" data-original-height="245" data-original-width="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix8dyfc9d4Cd6YK9hpJ1lwh2ULj0v4YiJGO2KGvI9sJ5xVawVCJ_dX2KPRN2u-boGuXIxrKmYqFWS787mxlopKHKUniouTeyKdo8r5AuKD20FCxWgJmD_kS9m9vDwu360VHae4khv7No3WEBfF0IqLlf7cDPPozelxR_f1_FIKaABhxA98tdBhdIHzmw/s600/A.jpeg"/></a></div>
<span style="font-family: Helvetica; font-size: 10pt;">Post World War II.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB--VdLG9F5n6bJHc73hEQa7kdcLCPSNGZVzMONVanNF8WRTHujpmZBMRGnHEam4hF_NBefmP2WY5eTl7nkid3YPNOfQ5CCARDYMOYfwAHw5qFxIEaDwuL3-bB9LHghYwhTBpagogCgoCscFIDm3YyQh48cyf9eymazLhKDLWkTNxZZpanFA_uZ7UTNg/s609/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="La fete, Jardin des Tuileries" border="0" height="600" data-original-height="609" data-original-width="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB--VdLG9F5n6bJHc73hEQa7kdcLCPSNGZVzMONVanNF8WRTHujpmZBMRGnHEam4hF_NBefmP2WY5eTl7nkid3YPNOfQ5CCARDYMOYfwAHw5qFxIEaDwuL3-bB9LHghYwhTBpagogCgoCscFIDm3YyQh48cyf9eymazLhKDLWkTNxZZpanFA_uZ7UTNg/s600/1.jpeg"/></a></div>
<b>Title:</b> La fete, Jardin des Tuileries.<br />
<b>Creator:</b> Raymond Savignac. Le fete, Jardin des Tulleries.<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 154.0 x 144.3 cm.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK0EipR_-ifuIA-N2pt2aWv14cHKDPfrJXFXf5dy2BY8CkYXUsfjOH46Mw-TczLaXqrpho6VPNUQfyH8C3c4xwlybdwnynCiSTgygCoLgknS9KrWosIf9Hw1h8WtBo53uWqE_Lz-aQjEm2bQx9J8N3OpgXzNQcWHcX5FwIF1F_OO87FqWoaXAkz0ZbCA/s375/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Monsavon au lait" border="0" height="600" data-original-height="375" data-original-width="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK0EipR_-ifuIA-N2pt2aWv14cHKDPfrJXFXf5dy2BY8CkYXUsfjOH46Mw-TczLaXqrpho6VPNUQfyH8C3c4xwlybdwnynCiSTgygCoLgknS9KrWosIf9Hw1h8WtBo53uWqE_Lz-aQjEm2bQx9J8N3OpgXzNQcWHcX5FwIF1F_OO87FqWoaXAkz0ZbCA/s600/2.jpeg"/></a></div>
<b>Title (Year):</b> Monsavon au lait (1960).<br />
<b>Creator:</b>Imp. Bedos & Cie, Paris.<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 149.3 x 99.6 cm.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguwrkSd7i8P4nyUJzS8Z89Ohzv8ly7SEcySMjTCKokCA44hs7aGiUds2fU81lG7nKSF79QkiqnFO1t3pJGFD39UFXg-f7rXEJRJvdIBiaGgmFHaA3GFwqTxLgCnYQY4I3tZoqo34PVwrkqhtepl7UgRyepjvFeMpwMiURNMII6m1z-YhoimfNeeMh97w/s378/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Cirque" border="0" height="600" data-original-height="378" data-original-width="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguwrkSd7i8P4nyUJzS8Z89Ohzv8ly7SEcySMjTCKokCA44hs7aGiUds2fU81lG7nKSF79QkiqnFO1t3pJGFD39UFXg-f7rXEJRJvdIBiaGgmFHaA3GFwqTxLgCnYQY4I3tZoqo34PVwrkqhtepl7UgRyepjvFeMpwMiURNMII6m1z-YhoimfNeeMh97w/s600/3.jpeg"/></a></div>
<b>Title (Year):</b> Cirque (1967).<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 159.4 x 116.5 cm.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiDqZjqC-2kQS7frQGvSYnM2dGZsVE_L41fIxl5SUmdPMIpObt9hYNPUyOglQDkbAI13E3uOVzEFXRyuhkmPzmGmlkRwd8deKDjQKExSBc9ZNH2iWAycEmX553wprkTONiinPZuCkbVejpOatdbbr8PZGbqBluD1ksUkSQ4CBrJH95_oO_FmKUGGpATA/s390/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Bally (1974)" border="0" height="600" data-original-height="390" data-original-width="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiDqZjqC-2kQS7frQGvSYnM2dGZsVE_L41fIxl5SUmdPMIpObt9hYNPUyOglQDkbAI13E3uOVzEFXRyuhkmPzmGmlkRwd8deKDjQKExSBc9ZNH2iWAycEmX553wprkTONiinPZuCkbVejpOatdbbr8PZGbqBluD1ksUkSQ4CBrJH95_oO_FmKUGGpATA/s600/4.jpeg"/></a></div>
<b>Title (Year):</b> Bally (1974).<br />
<b>Creator:</b> Bernard Villemot (Imp IPA, Champigny).<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 171.6 x 115.7 cm.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHc9rh9zn5lUOu-yP6_Nw-i1QEmnUWeC7h6_nYrPP7wjJuYmMVyhXLNJyOUyleplbJNlmsr8J9g-bZc5QibVPWHjOuP-72im1Y1bwk7yx8z4kbNxywQQxS29jWSZBLmyfj4NVMS_enedk6eXUV_ZUbL568giO8MKZjVZvYXm69mGaI6kPwPJqi3ydy3A/s383/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Bally (1974)" border="0" height="600" data-original-height="383" data-original-width="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHc9rh9zn5lUOu-yP6_Nw-i1QEmnUWeC7h6_nYrPP7wjJuYmMVyhXLNJyOUyleplbJNlmsr8J9g-bZc5QibVPWHjOuP-72im1Y1bwk7yx8z4kbNxywQQxS29jWSZBLmyfj4NVMS_enedk6eXUV_ZUbL568giO8MKZjVZvYXm69mGaI6kPwPJqi3ydy3A/s600/5.jpeg"/></a></div>
<b>Title (Year):</b> Bally (1974).<br />
<b>Creator:</b> Bernard Villemot (Imp IPA, Champigny).<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 158.1 x 112.5 cm.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiXFqk9Kx0Mmcrrk-BNys54KcoHZxHucqqFWTZ8wejns7liem1cve06eDziQLjM8ZZE8GN-hiqHOxd61TgWIEtq2XuQRJXkNr9ZVkJC4Cm1whhzYW168_KODn4tWbV8XfVjeMxu18aJ0iuU7N4U294CSeRIpHVFr1s7A5UdbdRepMtldQDLD54TX6cJw/s700/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Perrier (1974)" border="0" height="600" data-original-height="700" data-original-width="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiXFqk9Kx0Mmcrrk-BNys54KcoHZxHucqqFWTZ8wejns7liem1cve06eDziQLjM8ZZE8GN-hiqHOxd61TgWIEtq2XuQRJXkNr9ZVkJC4Cm1whhzYW168_KODn4tWbV8XfVjeMxu18aJ0iuU7N4U294CSeRIpHVFr1s7A5UdbdRepMtldQDLD54TX6cJw/s600/6.jpeg"/></a></div>
<b>Title (Year):</b> Perrier (1974).<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 169.3 x 119.5 cm.<br />
<br />
<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOsyBcNQNPsY2UJo-tscOWZUc_yOPo9qBQ76wgmlfZfSlfsLdqPjx3e5piiXAb-dLvCDVRVllgB6TnVHFfr8GzZr2z4ux5DdGYklMpyZeq5EYZ1oMoBnDNyfNU6Zdr9-rcSX54WTTP_fC0vgJrXy_04UwERHsPU4avAoKV0XZ1D3L5MywLBNs_Nm25Dw/s607/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="L'art Chine (1956)" border="0" height="600" data-original-height="607" data-original-width="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOsyBcNQNPsY2UJo-tscOWZUc_yOPo9qBQ76wgmlfZfSlfsLdqPjx3e5piiXAb-dLvCDVRVllgB6TnVHFfr8GzZr2z4ux5DdGYklMpyZeq5EYZ1oMoBnDNyfNU6Zdr9-rcSX54WTTP_fC0vgJrXy_04UwERHsPU4avAoKV0XZ1D3L5MywLBNs_Nm25Dw/s600/7.jpeg"/></a></div>
<b>Title (Year):</b> L'art Chine (1956).<br />
<b>Creator:</b> Hans Erni (Imp Paul Attinger S.A., Neuchatel.)<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 127.4 x 90.2 cm.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">World Poster Museum, Exhibit 1: World Poster Masterpieces, World Design Exposition; 89 in Shirotori.</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-2189208685979023042023-10-14T07:00:00.000+11:002023-10-14T07:00:00.145+11:00Kadism: North Philly HustlerGraffiti ArtMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Kadism [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Kadism has a great hand, crafted in the Philadelphia tradition. His script is tall, consistent, threatening to the civilian; and cooling to his colleagues. People often observed, 'I saw him walk to the wall, I blinked, and he was walking away.' His graffiti was done and dusted within seconds. Anti-graffitti guys called him an 'asshole' even though they have never met him. Kad confesses, 'Sometimes they just bluff my sh*t and leave everyone else's.' Kadism standard, Kad wicked, Kad throw up.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiNDOaIHWVxF2wpXprj3mcXBEd8lN-xPWAtfta4NnwjGO4bWw1Gz8G2vGHhuDvZWsvi22iK7zSOoztbarWSrjb17na0AVO1k3WF8NDwL7fKU_FISw_TZ_jwV36Jd3lRX3-sIsqx5ijW5sX3Hero_7dQcaH1n6P0OMPAklyY7tqpD-ufL7w6IUNcFM-6g/s630/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" width="500" data-original-height="525" data-original-width="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiNDOaIHWVxF2wpXprj3mcXBEd8lN-xPWAtfta4NnwjGO4bWw1Gz8G2vGHhuDvZWsvi22iK7zSOoztbarWSrjb17na0AVO1k3WF8NDwL7fKU_FISw_TZ_jwV36Jd3lRX3-sIsqx5ijW5sX3Hero_7dQcaH1n6P0OMPAklyY7tqpD-ufL7w6IUNcFM-6g/s600/1.jpeg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA5qtpwTmM9rJHYbxyB5scj1hHx_aCooYRyS9Y43OjrMH1O9US5DIxydkWAZbVJ6QuXaMF_Wd0dNy9QaNbGQ-mVWTKcPgvL5sWrfwi94hb3E6RzFUeqkIhZBA8oBF4TzEq7NTiEuypDAh9F9pPmpgZkOvcn2QkQyDso2YDQXEbRTv2DDRgBTrHPW9wzQ/s434/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" height="600" data-original-height="434" data-original-width="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA5qtpwTmM9rJHYbxyB5scj1hHx_aCooYRyS9Y43OjrMH1O9US5DIxydkWAZbVJ6QuXaMF_Wd0dNy9QaNbGQ-mVWTKcPgvL5sWrfwi94hb3E6RzFUeqkIhZBA8oBF4TzEq7NTiEuypDAh9F9pPmpgZkOvcn2QkQyDso2YDQXEbRTv2DDRgBTrHPW9wzQ/s600/2.jpeg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm1p0OdN4ym0uwrbESgHRQLC4KKJRPCNlM2u0Lczjb70mtrSI1SPp7f3KguoKNiL_xhxZMgQlS5MMq7cy0y523kUwxp_qX-4p09R3y2cx_e2P0lneEaeiGRthVU6v0hE-ORKkNtzjtd5g8P8rpE8MT9U6xddOx7FnUx8mEYyA4gkbll69anbboH8ktJA/s534/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" width="500" data-original-height="291" data-original-width="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm1p0OdN4ym0uwrbESgHRQLC4KKJRPCNlM2u0Lczjb70mtrSI1SPp7f3KguoKNiL_xhxZMgQlS5MMq7cy0y523kUwxp_qX-4p09R3y2cx_e2P0lneEaeiGRthVU6v0hE-ORKkNtzjtd5g8P8rpE8MT9U6xddOx7FnUx8mEYyA4gkbll69anbboH8ktJA/s600/3.jpeg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmABqCOBdfYgh4l3gH7LXFf---biZ6E7Xn1x2gucfDWc_bPbPxmf5tEDP24gvee_Tb7MFCcq9hUWPYSEQrFavZDe6frNVASLbi4ubQwhVLscDFNrwQ99E75JMHaX1ONuDcGTzXM2Iajaai1aKC7wZGE8pIU6aF-9F6yfEiGBBOBceUXw38DcIEzx1B4w/s632/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" height="600" data-original-height="632" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmABqCOBdfYgh4l3gH7LXFf---biZ6E7Xn1x2gucfDWc_bPbPxmf5tEDP24gvee_Tb7MFCcq9hUWPYSEQrFavZDe6frNVASLbi4ubQwhVLscDFNrwQ99E75JMHaX1ONuDcGTzXM2Iajaai1aKC7wZGE8pIU6aF-9F6yfEiGBBOBceUXw38DcIEzx1B4w/s600/4.jpeg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRmzTKyDiFvcBtfoBePNmUZQJ3VpzPKfXrJYFUe1M3VRuAv8-R3NIxcujj0dvI3GpxlxKimhTgJp0NAe62UbvTvnmPSCEoPIZ5XEK2olDK6zhDe4I30NbN0Nc14PS3Z47wIFaMnr1sC1AVN2o6VCYQqwRE6xz1bkiDeeaRJ0kbYKq1ptzQpg4VKkcJQ/s297/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" width="500" data-original-height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRmzTKyDiFvcBtfoBePNmUZQJ3VpzPKfXrJYFUe1M3VRuAv8-R3NIxcujj0dvI3GpxlxKimhTgJp0NAe62UbvTvnmPSCEoPIZ5XEK2olDK6zhDe4I30NbN0Nc14PS3Z47wIFaMnr1sC1AVN2o6VCYQqwRE6xz1bkiDeeaRJ0kbYKq1ptzQpg4VKkcJQ/s600/5.jpeg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1l60pEcFHkjmgpSoN8fSlUs8Q5fsOCg0gKuSO26dQioaoXjg7HI9i0pCQsaFjiP0ptcjfD5c-lAGm4UnHxuH0ch5iI1No76TROLIv6O8cAvFETQgn7jXqu6EqAPbZN3oEExlGWf6Fw1AGOT-WNa3BnwQaQEN_Fwd2M6ceSahLv-AL0YZ0x6YgMvv1oQ/s304/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" height="600" data-original-height="304" data-original-width="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1l60pEcFHkjmgpSoN8fSlUs8Q5fsOCg0gKuSO26dQioaoXjg7HI9i0pCQsaFjiP0ptcjfD5c-lAGm4UnHxuH0ch5iI1No76TROLIv6O8cAvFETQgn7jXqu6EqAPbZN3oEExlGWf6Fw1AGOT-WNa3BnwQaQEN_Fwd2M6ceSahLv-AL0YZ0x6YgMvv1oQ/s600/6.jpeg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWYqNonlxFI-J5fU3ElXQoswPBydfM_-a7TdchMi2xErPEiU7pWxahXOqyxAJmk739_3WwkYDVCMZt3ErnJvN2NEzWI7Vb1RFVGxhfyMyqBPKScODFdg2LBhLTnWrFnPLCS4Ma9jHzn9cP7eD0zP_xt5xPxpdw6-XjLpj4eTdTWdziiLHxvYohpYs64g/s271/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" width="500" data-original-height="162" data-original-width="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWYqNonlxFI-J5fU3ElXQoswPBydfM_-a7TdchMi2xErPEiU7pWxahXOqyxAJmk739_3WwkYDVCMZt3ErnJvN2NEzWI7Vb1RFVGxhfyMyqBPKScODFdg2LBhLTnWrFnPLCS4Ma9jHzn9cP7eD0zP_xt5xPxpdw6-XjLpj4eTdTWdziiLHxvYohpYs64g/s600/7.jpeg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc7EsNplgDifdMf08u3BkwR9Al9X_ps0rfKlCygYB50hHViPRMROdgKvau4G7y9nPH1Dyhd8U8HFYV8xi9FR-Hm9ZNPAbDI1H0qDHldDlYZXlLnlKVXicxBnN6TuvgMipy2YRz4zt6dnrQG6mW3LhrBW9Fyq32T68RmYz_edxC2HXIMt_4WVSzgcLEMw/s281/9.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" height="600" data-original-height="281" data-original-width="278" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc7EsNplgDifdMf08u3BkwR9Al9X_ps0rfKlCygYB50hHViPRMROdgKvau4G7y9nPH1Dyhd8U8HFYV8xi9FR-Hm9ZNPAbDI1H0qDHldDlYZXlLnlKVXicxBnN6TuvgMipy2YRz4zt6dnrQG6mW3LhrBW9Fyq32T68RmYz_edxC2HXIMt_4WVSzgcLEMw/s600/9.jpeg"/></a></div><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXi9hw4QWZt73-G5HuG8yXxaIgG_4-dVPT5IQzI8oAgZIYIdlXNRtOd84oa3u6nHLc2XyI-QilzHeQK9CcVJAWZQPqxd3nLAHXhZMy_3oJiywhB5YqCAYJYQTxCN8_xlxNPG1uon0D-VY_dKbMl_1iNnN0YZXWD5RtsR55m98mngkBaKcIUfgZKatEgg/s296/10.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Kadism" border="0" height="600" data-original-height="296" data-original-width="293" width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXi9hw4QWZt73-G5HuG8yXxaIgG_4-dVPT5IQzI8oAgZIYIdlXNRtOd84oa3u6nHLc2XyI-QilzHeQK9CcVJAWZQPqxd3nLAHXhZMy_3oJiywhB5YqCAYJYQTxCN8_xlxNPG1uon0D-VY_dKbMl_1iNnN0YZXWD5RtsR55m98mngkBaKcIUfgZKatEgg/s600/10.jpeg"/></a></div></span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">Notes from the underground (1995).</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-45724653765756704342023-10-07T07:00:00.218+11:002024-03-04T11:16:33.624+11:00Classification of Pigments - Part II [1]Art ResourceMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">This is the twenty-sixth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:<br />
<a href="https://artquill.blogspot.com/2021/08/drawing-art-resource-marie-therese.html">Drawing Art</a><br />
<a href="https://artquill.blogspot.com/2021/09/painting-part-i-art-resource-marie.html">Painting Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2021/10/painting-part-ii-art-resource-marie.html">Painting Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2021/11/painting-part-iii1-art-resource-marie.html">Painting Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2021/12/painting-part-iv-art-resource-marie.html">Painting Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/painting-art-part-v-1-art-resource.html">Painting Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/02/painting-art-part-vi-1-art-resource.html">Painting Art - Part VI</a><br />
<a href="https://artquill.blogspot.com/2022/03/home-made-painting-art-materials-art.html">Home-Made Painting Art Materials</a><br />
<a href="https://artquill.blogspot.com/2022/04/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/05/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/06/quality-in-ready-made-artists-supplies.html">Quality in Ready-Made Artists' Supplies - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/07/historical-notes-on-art-part-i-1-art.html">Historical Notes on Art - Part I</a><br />
<a href="https://artquill.blogspot.com/2022/08/historical-notes-on-art-part-ii-1-art.html">Historical Notes on Art - Part II</a><br />
<a href="https://artquill.blogspot.com/2022/09/historical-notes-on-art-part-iii-1-art.html">Historical Notes on Art - Part III</a><br />
<a href="https://artquill.blogspot.com/2022/10/historical-notes-on-art-part-iv-1-art.html">Historical Notes on Art - Part IV</a><br />
<a href="https://artquill.blogspot.com/2022/01/historical-notes-on-art-part-v-1-art.html">Historical Notes on Art - Part V</a><br />
<a href="https://artquill.blogspot.com/2022/12/tempera-painting-1-art-resource-marie.html">Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2023/02/oil-painting-part-i-1-art-resource.html">Oil Painting - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/01/oil-painting-part-ii-1-art-resource.html">Oil Painting - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/04/oil-painting-part-iii-1-art-resource.html">Oil Painting - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/05/oil-painting-part-iv-art-resource-marie.html">Oil Painting - Part IV</a><br />
<a href="https://artquill.blogspot.com/2023/06/oil-painting-part-v-1-art-resource.html">Oil Painting - Part V</a><br />
<a href="https://artquill.blogspot.com/2023/07/oil-painting-part-vi-1-art-resource.html">Oil Painting - Part VI</a><br />
<a href="https://artquill.blogspot.com/2023/08/pigments-1-art-resource-marie-therese.html">Pigments</a><br />
<a href="https://artquill.blogspot.com/2023/09/classification-of-pigments-part-i-1-art.html">Classification of Pigments - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/10/classification-of-pigments-part-ii-1.html">Classification of Pigments - Part II</a><br />
<a href="https://artquill.blogspot.com/2023/11/classification-of-pigments-part-iii-1.html">Classification of Pigments - Part III</a><br />
<a href="https://artquill.blogspot.com/2023/12/pigments-for-oil-painting-1-art.html">Pigments for Oil Painting</a><br />
<a href="https://artquill.blogspot.com/2024/01/pigments-for-water-color-1-art-resource.html">Pigments for Water Color</a><br />
<a href="https://artquill.blogspot.com/2024/02/pigments-for-tempera-painting-art.html">Pigments for Tempera Painting</a><br />
<a href="https://artquill.blogspot.com/2024/03/pigments-for-pastel-1-art-resource.html">Pigments for Pastel</a><br />
<br />
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:<br />
(i) Units used in dyeing and printing of fabrics;<br />
(ii) Occupational, health & safety issues in an art studio;<br />
(iii) Color theories and color schemes;<br />
(iv) Optical properties of fiber materials;<br />
(v) General properties of fiber polymers and fibers - Part I to Part V;<br />
(vi) Protein fibers;<br />
(vii) Natural and man-made cellulosic fibers;<br />
(viii) Fiber blends and melt spun fibers;<br />
(ix) Fabric construction;<br />
(x) Techniques and woven fibers;<br />
(xi) Basic and figured weaves;<br />
(xii) Pile, woven and knot pile fabrics;<br />
(xiii) Durable press and wash-and-wear finishes;<br />
(xvi) Classification of dyes and dye blends;<br />
(xv) The general theory of printing.<br />
<br />
To access any of the above resources, please click on the following link - <a href="https://artquill.blogspot.com.au/2012/04/units-used-in-dyeing-and-printing-of.html">Units Used in Dyeing and Printing of Fabrics</a>. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the <a href="https://artquill.blogspot.com.au/2012/03/glossary-of-terms-and-fabrics-1-13-art.html">Glossary of Cultural and Architectural Terms</a>, <a href="https://artquill.blogspot.com.au/2014/01/timelines-of-fabrics-dyes-and-other.html">Timelines of Fabrics, Dyes and Other Stuff</a>, <a href="https://artquill.blogspot.com.au/2015/12/a-fashion-data-base-edition-1-art.html">A Fashion Data Base</a>, the <a href="https://artquill.blogspot.com.au/2016/03/glossary-of-colors-dyes-inks-pigments.html">Glossary of Colors, Dyes, Inks, Pigments and Resins</a>, the <a href="https://artquill.blogspot.com.au/2016/07/glossary-of-fabrics-fibers-finishes.html">Glossary of Fabrics, Fibers, Finishes, Garments and Yarns</a>, <a href="https://artquill.blogspot.com.au/2017/05/glossary-of-art-artists-art-motifs-and.html">Glossary of Art, Artists, Art Motifs and Art Movements</a>, <a href="https://artquill.blogspot.com.au/2018/01/glossary-of-paper-photography-printing.html">Glossary of Paper, Photography, Printing, Prints and Publication Terms</a> and the <a href="https://artquill.blogspot.com/2019/01/glossary-of-scientific-terms-version-35.html">Glossary of Scientific Terms</a>. All data bases in the future will be updated from time-to-time.<br />
<br />
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.<br />
<br />
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Classification of Pigments - Part II [1]</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;"><b>Lakes</b><br />
A lake is a pigment which has been made by precipitating or fixing a dye upon an inert pigment or lake base. The process may be compared to that of dyeing cloth and a high degree of skill is required to produce good results.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikq-tRSMGJayrU7wIQxdWh9AMU4WJtpJAUyk4aOnhmnCxOiVrhwk8VGF6oQxuI04wiSMWyveQyHCTS5n1Urj_-jlz1qwrfZbqG5MVsviY2vLjC1P7qHFZxKfZ0B9OlnnIeei4a0nvnuwtewAeALBcBvrJsBoKA_xm0G-uN8ZwzYjsW8n5fhFq-ZPFv_A/s1280/1.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Madder Lake Pigment Extract" border="0" width="500" data-original-height="720" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikq-tRSMGJayrU7wIQxdWh9AMU4WJtpJAUyk4aOnhmnCxOiVrhwk8VGF6oQxuI04wiSMWyveQyHCTS5n1Urj_-jlz1qwrfZbqG5MVsviY2vLjC1P7qHFZxKfZ0B9OlnnIeei4a0nvnuwtewAeALBcBvrJsBoKA_xm0G-uN8ZwzYjsW8n5fhFq-ZPFv_A/s600/1.jpg"/></a></div>
Genuine Madder Lake Pigment extraction.<br />
<br />
Lakes are made in a great range of hues and strengths. A <i>toner</i> is an organic pigment in its most concentrated form, containing no inert pigment; for satisfactory performance in artists' colors it often requires added inert pigment to contribute bulk to the paint and decrease excessive tinctorial powder. Alumina hydrate is the usual base for clear, transparent lakes such as glazing colors, in printing inks etc.; while blanc fixe is the best base for those to be used in heavy paints, where more body or opacity is required.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixdjlSFGVMUhJfzJqAYyrYttHSHWoRWRa83cVTrXwPpxkki6ML5ZC1_cgEKnkSRHiTFpCTOdfI_PVbTrgW92X9ukTNOgEUBzImuzfXhs2ECLyuZYMU50nAvOoiqjfQr2T9UMYOXYEFeRqa1JaQhptuaItTEVRiTpJpJmb6zssoklvp0T8Ja6OXStsaaQ/s600/3.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Alumina Hydrate" border="0" width="500" data-original-height="600" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixdjlSFGVMUhJfzJqAYyrYttHSHWoRWRa83cVTrXwPpxkki6ML5ZC1_cgEKnkSRHiTFpCTOdfI_PVbTrgW92X9ukTNOgEUBzImuzfXhs2ECLyuZYMU50nAvOoiqjfQr2T9UMYOXYEFeRqa1JaQhptuaItTEVRiTpJpJmb6zssoklvp0T8Ja6OXStsaaQ/s600/3.jpg"/></a></div>
<div class="separator" style="clear: both;">
Alumina hydrate (Al(OH)<sub>3</sub>)<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7j1U3xMAFgVYK2nE5seSX2eJnAm5zjA-cah67_R1_eK3_qubeJ8GChiWYk7Lu8SSAOeEN6u1fBV6cKMltVsu06fVrLIQCxcf2Qb7I2D8uICPShV8Tk84k4YDYWCIr2DdGPaJGCge-MB01V4EaRPC_kOkB5slMkBiNnn_DM0IZqUSy7sImGUi0w3vk7g/s1212/2.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Blanc Fixe Powder" border="0" width="500" data-original-height="826" data-original-width="1212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7j1U3xMAFgVYK2nE5seSX2eJnAm5zjA-cah67_R1_eK3_qubeJ8GChiWYk7Lu8SSAOeEN6u1fBV6cKMltVsu06fVrLIQCxcf2Qb7I2D8uICPShV8Tk84k4YDYWCIr2DdGPaJGCge-MB01V4EaRPC_kOkB5slMkBiNnn_DM0IZqUSy7sImGUi0w3vk7g/s600/2.jpg"/></a></div>
Blanc Fixe Powder (Barium sulfate - BaSO4).<br />
<br />
Cheaper lakes, less clear in tone, are made on clay, barytes, etc. Green earth is valuable as a base for green lakes, as it is a species of clay which has a strong power of absortion for dyes. A lake is also occassionally made with a colored pigment as a base; for example, Tuscan red, a pigment made for industrial use, is made with alizarin on and Indian red base.<br />
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<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY9OjDWqF80ZHkrIEQSyHjWfhgQCxyjaDfG5-MTk3l6kGW-MwMHt5kAqiF-4MORlIbW_24r8VQkLxAOqRZkw2fpBrrg_i7-kiwTeFO-TH2rpJlsCLtZZS2ZXhSRz9N07gPDk6lSgtZt8ZMYlyJrtjjwtG-1OZKs1nTtWc3lYsMWgEB1Dydoi_B82N86g/s1129/4.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="Tuscan Red" border="0" width="500" data-original-height="614" data-original-width="1129" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY9OjDWqF80ZHkrIEQSyHjWfhgQCxyjaDfG5-MTk3l6kGW-MwMHt5kAqiF-4MORlIbW_24r8VQkLxAOqRZkw2fpBrrg_i7-kiwTeFO-TH2rpJlsCLtZZS2ZXhSRz9N07gPDk6lSgtZt8ZMYlyJrtjjwtG-1OZKs1nTtWc3lYsMWgEB1Dydoi_B82N86g/s600/4.png"/></a></div>
Tuscan red is a red color close to brown. HEX Code: #66424d.<br />
<br />
The dye stuffs used are synthetic products, although few of the older extracts of vegetable and animal origin still survive for some special purposes - usually only because of their low cost, for lakes made from modern organic colors are generally superior in every paint requirement to those obtained from the natural coloring extracts. The term comes from Indian, <i>lac</i>, which is described under shellac. Scum or sediment from dyers' vats, called <i>lacca</i> and consisting of dyed particles of shreds, fibers, dust, and other impurities, were collected and used as a pigment in Italy in early times.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_vAhcA_SCwAV9DCnJDZhgXKNeTfiJqIgLU6kDO2_H3uJWNLEujZ4ZWJJGUDWl3H8DDKGX1tr5_VbHwDPkXrA8wrVC9IbCA9nnGZyxRaNwg477Ole0KTvjLK6g4NgnpdjQjdzx_ax80x4nqnt49tNVPrgWEia65bhOB3_ZkDHFXDYUHV-1rCMZ5PM3pw/s220/5.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Shellac Flakes" border="0" width="500" data-original-height="220" data-original-width="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_vAhcA_SCwAV9DCnJDZhgXKNeTfiJqIgLU6kDO2_H3uJWNLEujZ4ZWJJGUDWl3H8DDKGX1tr5_VbHwDPkXrA8wrVC9IbCA9nnGZyxRaNwg477Ole0KTvjLK6g4NgnpdjQjdzx_ax80x4nqnt49tNVPrgWEia65bhOB3_ZkDHFXDYUHV-1rCMZ5PM3pw/s600/5.jpg"/></a></div>
Natural shellac flakes.<br />
<br />
<b>Reduced or Let-Down Colors</b><br />
Commercial pigments are supplied for some industrial purposes in grades known as reduced or let-down colors. As a general rule they are condemned for use in artists' paints; none but the purest, most concentrated grades available should be selected for use in permanent painting.<br />
<br />
A reduced pigment is not ordinarily diluted with an inert filler by the simple admixture of dry powders, but the inert material is usually introduced during the 'striking' of a batch in the wet stage, thereby producing such an intimate mixture that the product has a brighter and less muddy tine than it would have had if the filler had been merely sifted into or ground together with the finished dry color.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb7wojFpJeiIGemu77mfWQVhq47aO2eEO8JHkr-ESYe2kDLoG8aTeBvXfMxEgYsPjHSd5v9-DHX3fTepyJdwko14PywEVHEvFmUffdkpxRrU4VQbLjuthWgD4nNO9xPLDIL1mojueZO_4pDRu3Q4QgOPNkoi-4ef8ggj99MGXIrijf8wODzR3uX4cYeg/s1086/6.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Raw Sienna" border="0" width="500" data-original-height="1028" data-original-width="1086" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb7wojFpJeiIGemu77mfWQVhq47aO2eEO8JHkr-ESYe2kDLoG8aTeBvXfMxEgYsPjHSd5v9-DHX3fTepyJdwko14PywEVHEvFmUffdkpxRrU4VQbLjuthWgD4nNO9xPLDIL1mojueZO_4pDRu3Q4QgOPNkoi-4ef8ggj99MGXIrijf8wODzR3uX4cYeg/s600/6.jpg"/></a></div>
Raw Sienna - fine pigment for creating handmade watercolor, oil paints and ink.</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).</span>
</div>
</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-60041786132638273432023-09-30T07:00:00.017+10:002023-12-27T09:06:57.236+11:00Melbourne Now - Part I [1]Art ExhibitionMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">For you convenience I have listed below other posts featuring exhibitions:<br />
<a href="https://artquill.blogspot.com/2023/09/melbourne-now-part-i-1-art-exhibition.html">Melbourne Now - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/11/melbourne-now-part-ii-1-art-exhibition.html">Melbourne Now - Part II</a><br />
<br />
'Melbourne Now' was an art exhibition mounted by the National Gallery of Victoria in 2014. It takes as it premise the idea that a city is significantly shaped by the artists, designers, architects, choreographers, intellectuals and community groups that live and work in its midsts. The aim is to explore how Melbourne's visual artists and creative practitioners contribute to the dynamic cultural identity of this city. The result is an exhibition that celebrates what is unique about Melbourne's art, design and architecture communities.<br />
<br />
The intention of this exhibition is to encourage and inspire everyone to discover some of the best of Melbourne's culture. To help achieve this, family-friendly activities, dance and music performances, inspiring talks from creative practitioner's, city walks and ephemeral installations and events made up the public program.<br />
<br />
This and other posts in this series will concentrate on the participating artists rather than on other features of the exhibition event (e.g., family friendly commisions developed especially for children and young audiences that aimed to encourage participatory learning for kids and families etc.)</span><br />
<br />
<span style="font-family: Helvetica; font-size: 11pt;"><b>Melbourne Now - Part I[1]</b></span><br />
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<span style="font-family: Helvetica; font-size: 10pt;"><b>Geoff Lowe and Jacquelin Riva</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjztBKWlIjPTNNdpasty5htaB7tgQdqgmZWLSlOlwCFwma_Rh-9SzYgFrMl0YDobcSrDNVW5XkBlUw0tvXY46QyHffw_ksu3uvvQC4PFHOGA5JzYyEiX53c1e1MiQ0vVc_ArYkRch8n7Olfy5Wa2kz1pt4mcETJUVRBXi718dYBKKWrX6EbgdMCFkja1g/s895/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="A Constructed World" border="0" width="500" data-original-height="478" data-original-width="895" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjztBKWlIjPTNNdpasty5htaB7tgQdqgmZWLSlOlwCFwma_Rh-9SzYgFrMl0YDobcSrDNVW5XkBlUw0tvXY46QyHffw_ksu3uvvQC4PFHOGA5JzYyEiX53c1e1MiQ0vVc_ArYkRch8n7Olfy5Wa2kz1pt4mcETJUVRBXi718dYBKKWrX6EbgdMCFkja1g/s600/1.jpeg"/></a></div>
<b>Title:</b> A Constructed World.<br />
<br />
'A Constructed World' is the moniker of the influential artistic collaboration between Geoff Lowe and Jacquelin Riva. Active since 1993, and currently based in Paris, A Constructive World's projects encompass painting and video, publishing and performance, workshops and events. Often involving improvisation, free association and choeography of multiple participants and perspectives Lowe and Riva's practice encourages risk, response and unexpected encounters in an investigation of the act of making art.<br />
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For Melbourne Now, 'A Constructed World,' reflects on the shift towards neoliberalism and economic rationalism that has occurred over the past decade, during which Lowe and Riva have mostly lived abroad. Informed by a period of research undertaken with French philosopher, Fabien Vallos, and arists extended collaborative group 'Speech and What Active', 'A Constructed World' explores Aristotle's notion of the Chrematistic: the process of accumulating wealth through money and goods regardless of their use value. The resulting collaboration of works, one painting, one video and one sculpture - references the parable of the talents from Mathew 25: 14-30 and explores the embarassment and conscious duplicity of this story and it's implications [1].<br />
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<b>ALLYOURWALLS - Hoiser Lane</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil6GG8jQN7kp59v2Z4NyNzOt2D2hV8JDRoAqy9KUaMEzFf26Eu0JA9LDB3UrziiZYJL3ijKOlpEg2CYjpsNU6TyNR-wf0eP0UOXNWZ3DWLqM8z5yamRAy5G_BLkYx7BTDqJ3Oaxub2osUq01wP0X7ESMBl-9jRuFMzfHWflVYTJn3Wwed3rTeLn2uQrw/s750/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Hoiser Lane" border="0" width="500" data-original-height="422" data-original-width="750" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil6GG8jQN7kp59v2Z4NyNzOt2D2hV8JDRoAqy9KUaMEzFf26Eu0JA9LDB3UrziiZYJL3ijKOlpEg2CYjpsNU6TyNR-wf0eP0UOXNWZ3DWLqM8z5yamRAy5G_BLkYx7BTDqJ3Oaxub2osUq01wP0X7ESMBl-9jRuFMzfHWflVYTJn3Wwed3rTeLn2uQrw/s600/2.jpeg"/></a></div>
Located in central Melbourne (between Flinders Lane and Flinders Street and running parallel to Russell Street), Hoiser Lane, along with its cobbled 'anabranch' Rutledge Lane, first came to prominence as a venue for street art in the 1990s. Since then, the walls of the lanes have functioned as an exhibition site for local and international street artists. Recently, several organizations have been working with local artists to invigorate Hosier Lane with a diverse range of projects. Among the organizations fostering dynamic art events within Hosier Lane are notable Melbourne street art blog - Land of Sunshine, Invurt - one of Australia's leading online underground art magazines - and Hosier Inc., a community association comprising of residents, property owners and artists.<br />
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ALLYOURWALLS has been organized by Land of Sunshine and Invurt in association with the National Gallery of Victoria and Hoiser Inc., and forms a key component of 'Melbourne Now.' It brings together some of Melbourne's finest street artists and graffiti crews in a major makeover of Hosier Lane that celebrates the significant role street art and graffiti continues to play in the cultural life of this city.<br />
<br />
<b>Rick Amor</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL2i6mByi28N8GW2Ht0VsyAMdpe8FM7BwqXRyEC3-WJxAQx0rF6FRmb8JFGBui67cDrNWQqFerp_3QzT9rg1__46T5Pp5HyMxONeBtBLjZgwIwyIZUluB44uAFqeBaPNIMTRQuWY9yt03xxDJEsOf54oEvRNhteege2Q01gsmXbtNoReYlUbm5MorzPA/s926/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mobile Call" border="0" height="600" data-original-height="926" width="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL2i6mByi28N8GW2Ht0VsyAMdpe8FM7BwqXRyEC3-WJxAQx0rF6FRmb8JFGBui67cDrNWQqFerp_3QzT9rg1__46T5Pp5HyMxONeBtBLjZgwIwyIZUluB44uAFqeBaPNIMTRQuWY9yt03xxDJEsOf54oEvRNhteege2Q01gsmXbtNoReYlUbm5MorzPA/s600/3.jpeg"/></a></div>
<b>Title:</b> Mobile Call (2012).<br />
<br />
Rick Amor has been involved in artmaking, more specifically painting, sculpture and printmaking, for many decades. Amor's world is a rich composition of his life aesthetic and experiences played out through his work. He has held numerous solo shows and is represented in major public and private collections in Australia and internationally.<br />
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Best known for his brooding urban landscapes, Amor's work in Melbourne Now, 'Mobile Call' (2012) stays true to his theme. The painting speaks to the heart of urban living in its depiction of a darkened city alleyway, with dim, foreboding lighting. A security camera on the wall surveys the scene, a lone austere figure just within its watch. The camera represents the omnipresent surveillance of our modern lives, and an uneasy air of suspicion permeates the painting's subdued, gray landscape. Amor's reflections on the urban landscape are solemn, restrained and often melancholic. Quietly powerful, his work alludes to a mystery in the banality of daily existence, 'Mobile Call' is a realistic portrayal of a metropolitan landscape that opens our eyes to a strange and complex world.<br />
<br />
<b>Brook Andrew</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDIcJj6LcoGq4-4F3LeUVrOfs5j_wMY_hKJIHaclWXxBoX-zOb2SjGccsbQguWYEUkoNH600ZHDheRkQAOGDKQOM4dunSz_BC7Z0rnVfVctzhuVmLyXA4uH2OKbAxVW4VhOiGX6WWUsZFGAY-_akBSzCj8jJJ4YjUvuU91IgsiR2N4vkV82Ej4bUoFEQ/s946/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Vax: Beyond Tasmania (Detail)" border="0" width="500" data-original-height="656" data-original-width="946" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDIcJj6LcoGq4-4F3LeUVrOfs5j_wMY_hKJIHaclWXxBoX-zOb2SjGccsbQguWYEUkoNH600ZHDheRkQAOGDKQOM4dunSz_BC7Z0rnVfVctzhuVmLyXA4uH2OKbAxVW4VhOiGX6WWUsZFGAY-_akBSzCj8jJJ4YjUvuU91IgsiR2N4vkV82Ej4bUoFEQ/s600/4.jpeg"/></a></div>
<b>Title:</b> Vax: Beyond Tasmania (Detail, 2013).<br />
<br />
Brook Andrew is an artist of considerable daring and flair whose works often unsettles or destablizes conventional readings of the world. His shifting, interdisciplinery practice challenges stereotypical notions of history, identity and race, without apportioning blame or guilt. The seductive beauty of his work entices the viewer to confront repugnant acts of racism, voyeurism and oppression and to address dangerous ideas and taboos.<br />
<br />
Andrew's, Vox: Beyond Tasmania (2013) renders palpable contemporary art at a central preoccupation of his humanist practice - the legacy of historical trauma on the present. Inspired by a rare volume of drawings of fifty-two Tasmanian Aboriginal crania, Andrew has created a vast wunderkammer containing a severed human skeleton, anthropological literature and artifacts. The focal point of this assemblage of decontexturalized exotica is a skull, which lays bare the practice of desecrating sacred burial sites in order to snatch Aboriginal skeletal remains as scientific trophies, amassed as specimens to be studied in support of taxonomic theories of evolution and eugenics. Andrew's profound and humbling memorial to genocide was supported in its first presentation by fifty-two portraits and a commissioned requiem by composer Stephanie Kabanyana Kanyandekwe.<br />
<br />
<b>Benjamin Armstrong</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhds6OSy6h-y4_Xf-UXc0FX-Yf_ZLuZenN7yrZ6LdXGzfxjSUwbmKvoCOsL0yeeC4GqiWG5I1ynVHnCDtW1fiR5oDPl9YbB2DpHGjO4Be7h_Ogh9LsSiNELFUrV7PP_S5HegOScwHmAePcDt9bu2qL5VKlEdm9PE4syaXev99X7SAaKd2_v_fZ4ht23Tg/s1046/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Conjuring" border="0" height="600" data-original-height="1046" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhds6OSy6h-y4_Xf-UXc0FX-Yf_ZLuZenN7yrZ6LdXGzfxjSUwbmKvoCOsL0yeeC4GqiWG5I1ynVHnCDtW1fiR5oDPl9YbB2DpHGjO4Be7h_Ogh9LsSiNELFUrV7PP_S5HegOScwHmAePcDt9bu2qL5VKlEdm9PE4syaXev99X7SAaKd2_v_fZ4ht23Tg/s600/5.jpeg"/></a></div>
<b>Title:</b> Conjuring (2011).<br />
<br />
Prolific multidisciplinary artist Benjamin Armstrong was born in Melbourne in 1975. He graduated from the Victorian College of the Arts with a Bachelor of Fine Art in 1996, and since then he has widely exhibited his work, ranging from sculpture to works on paper, in Australia and abroad. Amstrong's distinctive style is intriguing, adventureous and also slightly unsettling: his expermentation and play with visceral, sensual forms, patterns and materials provokes strong reactions in the viewer.<br />
<br />
The large scale works on paper by Armstrong included in Melbourne Now are no different. These pieces are charged with mysterious energy that is pregnant with potential, signifying transformation, turbence and instability. Each work carries loose, swirling watercolor forms, which suggests hovering emotional and physcical forces to be contended with. The charged and powerful tentacles in Conjuring (2011), reveal a vastly different tone to his work Victory, 2011, where beams of light crack through a looming, dark sky, elicitng slight optimism. Individually and collectively these works pose big questions about our world, our geographies, and our origins.<br />
<br />
<b>Janet Beckhouse</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRI-fkvxhXEYsoxIvCsOcwgUsnZLkdw_VzIX71Qi9U7BnGgX1uRJmX7-Ngy3Nd40j_C0AIPVmH5dZhAy-cDlqlq5ChY-nyPu5sJ_iQ281G8jY5bzto7SPOvMnyB5ToD7XcBGvrExUrBOIY-U05CdZT1alMqf3igJPUemqJ81Hx2T3mslwxfp_4xSsBAQ/s1428/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Portsea" border="0" height="600" data-original-height="1428" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRI-fkvxhXEYsoxIvCsOcwgUsnZLkdw_VzIX71Qi9U7BnGgX1uRJmX7-Ngy3Nd40j_C0AIPVmH5dZhAy-cDlqlq5ChY-nyPu5sJ_iQ281G8jY5bzto7SPOvMnyB5ToD7XcBGvrExUrBOIY-U05CdZT1alMqf3igJPUemqJ81Hx2T3mslwxfp_4xSsBAQ/s600/6.jpeg"/></a></div>
<b>Title:</b> Portsea (2013).<br />
<br />
Janet Beckhouse is one of Melbourne's foremost contemporary ceramicists. Her sculptural forms are influenced by the aesthetics of Baroque and Rococo ornamentation, fifteenth-century majolica ware and early twentieth-century Australian ceramic traditions. Beckhouse completed a Bachelor of Fine Art at RMIT University in 2000, and a Master of Fine Art at Monash University in 2012. She has exhibited widely in Australia.<br />
<br />
Beckhouse's elaborate creations often have a melancholic air and impart a sense of dark forelore. Skulls and bones - symbols of the fragility of human existence and the inevitability of our mortality - are recurring motifs and lend her oeuvre a contemporary streetwise currency. References to the natural world, from lizards, snakes and sea creatures, to intricate plants and elaborate corals also punctuate her work. Characterised by a visual cacophony of forms and references, Beckhouse's art is one of contrasts. As fellow ceramicist Peter Pilven observed, 'Like the music of Jimi Hendrix, whom she admires, [Beckhouse's] creations often convey a discordant spikiness that can contrast and clash, creating a visual disharmony that is not always pretty or comfortable.<br />
<br />
<b>Stephen Benwell</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga5aGEgYtAGBuYULB2ucb4emMtbRgI4--G_JbMO_U4JSYzTI9dTWjXoWQ6xmUsYQEK9EkvBuYmznMj_9R0tRi7wcNN6wiPo8tpF6BU5mH9qZGedkvKzdCK8Njtzn6f1PejHKAaMpx6uwZo4he1T8oPvZRoQYnOP02Rzy4SOdzlZntsW2wItyuvzspe3Q/s1311/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Statute, Arm Raised" border="0" height="600" data-original-height="1311" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga5aGEgYtAGBuYULB2ucb4emMtbRgI4--G_JbMO_U4JSYzTI9dTWjXoWQ6xmUsYQEK9EkvBuYmznMj_9R0tRi7wcNN6wiPo8tpF6BU5mH9qZGedkvKzdCK8Njtzn6f1PejHKAaMpx6uwZo4he1T8oPvZRoQYnOP02Rzy4SOdzlZntsW2wItyuvzspe3Q/s600/7.jpeg"/></a></div>
<b>Title:</b> Statue, Arm Raised (2011).<br />
<br />
Stephen Benwell's practice, which has spanned many decades, includes printmaking, drawing and painting; however, he is best known for his distinctive hand-built and feely created decorated ceramic forms and figures. Benwell began his professional career in 1975 and since then he has held numerous solo exhibitions including an exhibition in 2013 at the Heide Museum of Modern Art, Melbourne. His work typically integrates elements of classical history with a lyrical artistic aesthetic and unconventional approach to the ceramic medium.<br />
<br />
Throughout his career a major preoccupation of Benwell's work has been the depiction of the male figure. In 2006 he commenced a series of figurative sculptural works that explore issues relating to masculinity, naked beauty and sensuality. These works, initially inspired by eighteenth century figurines and Greco-Roman statuary, have become significant aspects of Benwell's recent practice. The artist contributes a group of these evocative figures for Melbourne Now.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">[1] T. Ellwood, Director, National Gallery of Victoria.</span>
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</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-62456626476089500282023-09-23T07:00:00.181+10:002023-10-21T08:52:44.595+11:00Posters from World War II On (Since 1940s) - Part I [1]Prints on PaperMarie-Therese Wisniowski<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">For your convenience I have listed below all the posts in this series:<br />
<a href="https://artquill.blogspot.com/2023/09/posters-from-world-war-ii-on-since.html">Posters from World War II On Since 1940s - Part I</a><br />
<a href="https://artquill.blogspot.com/2023/02/posters-from-world-war-ii-on-since.html">Posters from World War II On Since 1940s - Part II</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Posters from World War II On (Since 1940s) - Part I [1]</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTTZPMueRBr38_DDinGSq3ig9XwXAEzFwppmdyOTH--OOFEzBowyXN88HbwXliBoDYelyUrcReKNryrZ0VKJyvY5ndStyVI20VOsxTZiqQ353-0BmgZydjav3gICb0I3g-F5TMTOrwLlr7j3ACYrm-ufwLVCIQl9fDc74rq9y5ptNVlCas9RBhRJu4Bg/s319/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Celebrating the end of World War 2" border="0" height="600" data-original-height="319" data-original-width="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTTZPMueRBr38_DDinGSq3ig9XwXAEzFwppmdyOTH--OOFEzBowyXN88HbwXliBoDYelyUrcReKNryrZ0VKJyvY5ndStyVI20VOsxTZiqQ353-0BmgZydjav3gICb0I3g-F5TMTOrwLlr7j3ACYrm-ufwLVCIQl9fDc74rq9y5ptNVlCas9RBhRJu4Bg/s600/1.jpeg"/></a></div>
<span style="font-family: Helvetica; font-size: 10pt;">Celebrating the end of World War 2.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSilayXKWzd9Lzh2Q6-SFXB0KfDYn9BA6ncL1Bb4yn6rRNyjG8IPg7lqVxFzz9aGC5NaD_SP1P_u1w95CVtoSO3W_kU1emueLInrIqbCPdvAyPHYAZB2Y-hlc78x9swv4tcWGN_EPlDcTvJXejnVHdS1D_fL083Psz3pUCOjG2Xc1-iP_4ze8jsXNHEQ/s548/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="We're In It Together (1941)" border="0" width="500" data-original-height="440" data-original-width="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSilayXKWzd9Lzh2Q6-SFXB0KfDYn9BA6ncL1Bb4yn6rRNyjG8IPg7lqVxFzz9aGC5NaD_SP1P_u1w95CVtoSO3W_kU1emueLInrIqbCPdvAyPHYAZB2Y-hlc78x9swv4tcWGN_EPlDcTvJXejnVHdS1D_fL083Psz3pUCOjG2Xc1-iP_4ze8jsXNHEQ/s600/2.jpeg"/></a></div>
<b>Title (Year):</b> We're In It Together (1941).<br />
<b>Creator:</b> Federic H.K. Henrion.<br />
<b>Printing Process:</b> Offset.<br />
<b>Size:</b> 72.9 x 91.1 cm.<br />
<b>Comment [1]:</b> Printed for H.M. Stationary Office by Henry Hildesley Ltd., London.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjljvxqqqpY7z3TDLVDFn4Qukyujc17mpI_vl1mtYtc4uVm1phOEGzGoKB5ACutpz3VF_zkAZYWeVYfFw5wMVzuVMeYHYzXz6_GaeNkZBgY2k7Da_XiDXyl_PqRjv8W98X4e7oop4l8WYpTjpxeQzDT4SMDPoV-REdy32URqHEEnaOPvLHL4CI9pxq7w/s550/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Confiance" border="0" height="600" data-original-height="550" data-original-width="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjljvxqqqpY7z3TDLVDFn4Qukyujc17mpI_vl1mtYtc4uVm1phOEGzGoKB5ACutpz3VF_zkAZYWeVYfFw5wMVzuVMeYHYzXz6_GaeNkZBgY2k7Da_XiDXyl_PqRjv8W98X4e7oop4l8WYpTjpxeQzDT4SMDPoV-REdy32URqHEEnaOPvLHL4CI9pxq7w/s600/3.jpeg"/></a></div>
<b>Title (Year):</b> Confiance (Unknown).<br />
<b>Creator:</b> S.P.K. (unknown).<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 119.2 x 78.6 cm.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglY_EORol878z2UCobqsUhpOHmQbfY4m1ROuDu3_wqK0TcmSPmjKqBTgE4hGpz6b6ZOUhH4-MtNJcKTemF3XZN_mmSN14rgiiPVIIQM4NrN-l9kc4B7jKXWL1Uom49rYQBn7PCcAN58FvG31wtRtaTvzKOE_cjLg2aP4RXburyx-4-6-AqknrU36Hmwg/s624/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Rodakorsveckan" border="0" height="600" data-original-height="624" data-original-width="431" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglY_EORol878z2UCobqsUhpOHmQbfY4m1ROuDu3_wqK0TcmSPmjKqBTgE4hGpz6b6ZOUhH4-MtNJcKTemF3XZN_mmSN14rgiiPVIIQM4NrN-l9kc4B7jKXWL1Uom49rYQBn7PCcAN58FvG31wtRtaTvzKOE_cjLg2aP4RXburyx-4-6-AqknrU36Hmwg/s600/4.jpeg"/></a></div>
<b>Title (Year):</b> Rodakorsveckan (1944).<br />
<b>Creator:</b> Anders Beckman.<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 99.0 x 69.3 cm.<br />
<b>Comment [1]:</b> Printed for H.M. Stationary Office by Henry Hildesley Ltd., London.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3tgEh6TFSYLJu7Sr-hQgl5DM6uNSnKYVhTMYORLpCilYjmWdGVa5csgJffVBpmixDSzNTxQw7GgztLgrEi2uAtZ5NE6Nwklz9QyTGif1rLPCSQQIx2ogk-ijZhi40j760id61V5gvWQ6skpXVaggfYpykimvaJWf5BRV_Pa6ucT6kTIgQSerUtB-VvQ/s545/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="New Adventures of Batman" border="0" width="500" data-original-height="421" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3tgEh6TFSYLJu7Sr-hQgl5DM6uNSnKYVhTMYORLpCilYjmWdGVa5csgJffVBpmixDSzNTxQw7GgztLgrEi2uAtZ5NE6Nwklz9QyTGif1rLPCSQQIx2ogk-ijZhi40j760id61V5gvWQ6skpXVaggfYpykimvaJWf5BRV_Pa6ucT6kTIgQSerUtB-VvQ/s600/5.jpeg"/></a></div>
<b>Title (Year):</b> New Adventures of Batman (1943).<br />
<b>Creator:</b> unknown.<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 73.2 x 97.9 cm.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMz_6KcFutwTo-K_APAtx41phT1QS7r_CUw-ATKXC-FCvOWwclugofCtW50papjKfiNrT_LBYGOFpuo-uQ96HyHTOS9K4Br2IPfQ-4yO8fFCzADTf0RwijmB59MeHBd_zt5QRAJkVjiB_PVDZqdSPH5CKPWB5ktDi-3_eyxdfvNkFhIqR34PIs-6keUw/s622/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Knie" border="0" height="600" data-original-height="622" data-original-width="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMz_6KcFutwTo-K_APAtx41phT1QS7r_CUw-ATKXC-FCvOWwclugofCtW50papjKfiNrT_LBYGOFpuo-uQ96HyHTOS9K4Br2IPfQ-4yO8fFCzADTf0RwijmB59MeHBd_zt5QRAJkVjiB_PVDZqdSPH5CKPWB5ktDi-3_eyxdfvNkFhIqR34PIs-6keUw/s600/6.jpeg"/></a></div>
<b>Title (Year):</b> Knie (1948).<br />
<b>Creator:</b> Herbert Leupin.<br />
<b>Printing Process:</b> Color lithograph.<br />
<b>Size:</b> 127.8 x 90.2 cm.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkmvZ1OldqPpkjDToiFSJklTQQDpYsAUMUJGMjyhAWv2T1RgkAGI9k_dIjcy-HHRYXsidGogNaNjbSDmW__oFD0q9LOHWw7uFnu8J0i-Lq-Afga-roNA6L6j6FpeLMEwwkJtnBl2_xYaFI98NQdbp7p9q_sVlrZTYuxxsQRXlw60l8KRyg610FsrGwHQ/s626/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="VI Polish and III International Festival of Short Films" border="0" height="600" data-original-height="626" data-original-width="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkmvZ1OldqPpkjDToiFSJklTQQDpYsAUMUJGMjyhAWv2T1RgkAGI9k_dIjcy-HHRYXsidGogNaNjbSDmW__oFD0q9LOHWw7uFnu8J0i-Lq-Afga-roNA6L6j6FpeLMEwwkJtnBl2_xYaFI98NQdbp7p9q_sVlrZTYuxxsQRXlw60l8KRyg610FsrGwHQ/s600/7.jpeg"/></a></div>
<b>Title (Year):</b> VI Polish and III International Festival of Short Films (1941).<br />
<b>Printing Process:</b> Offset.<br />
<b>Size:</b> 39.7 x 29.1 cm.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Reference:</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">World Poster Museum, Exhibit 1: World Poster Masterpieces, World Design Exposition ; 89 in Shirotori.</span>
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</div>Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0tag:blogger.com,1999:blog-6844280091248854881.post-63736073261852247652023-09-16T07:00:00.158+10:002023-09-16T13:50:46.898+10:00The Art of Mary Edna Fraser: Poetic LandscapesArtClothGuest Artist: Mary Edna Fraser<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Preamble</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">For your convenience I have listed below other Guest Artists posts' on this blogspot:<br />
<a href="https://artquill.blogspot.com/2012/03/my-voice-using-disperse-dyes-on-cloth.html">My Voice using Disperse Dyes on Cloth (Jennifer Libby Fay)</a><br />
<a href="https://artquill.blogspot.com/2012/10/an-artistic-dialogue-with-my-immediate.html">An Artistic Dialogue With My Immediate Environment (Lesley Turner)</a><br />
<a href="https://artquill.blogspot.com/2014/09/the-art-of-fascinators-wearable-art.html">The Art of Fascinators (Flora Fascinata)</a><br />
<a href="https://artquill.blogspot.com/2016/09/reality-influence-and-invention.html">Reality, Influence and Invention (Shirley McKernan)</a><br />
<a href="https://artquill.blogspot.com/2020/03/eric-robyn-and-mythical-beasts-guest.html">The Mythical Beasts (Eric and Robyn Werkhoven)</a><br />
<a href="https://artquill.blogspot.com/2020/08/studio-la-primitive-fashion-fantastic.html">Studio La Primitive Fashion Fantastic (Eric and Robyn Werkhoven)</a><br />
<a href="https://artquill.blogspot.com/2023/09/the-art-of-mary-edna-fraser-poetic.html">The Art of Mary Edna Fraser: Poetic Landscapes</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Introduction</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">I first met American artist, Mary Edna Fraser, in 2009. Both of us were invited to tutor workshops at Janet De Boer’s, The Australian Forum for Textile Arts (TAFTA), 2009 International Geelong Fibre Forum. The 2009 Geelong Forum which was held from 27th September through to 3rd of October, celebrated TAFTA’s 10th Anniversary of that event. Mary Edna and I were also invited to exhibit our ArtCloth/textile artworks as Feature Artists at the Sinclaire Gallery, at Geelong Grammar School, Victoria, where the Geelong Forum was held.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguYGwl4T235b5rLjToZ_wDMuXA763sN7q8Rc_NFOWOGnzKzkSFRfCMlCALbYugYGryENjtzcPEWc7Q4h0b1EDvhOyFQF7Nvd9sb4V5IkH_3kLkjDQl2F-15NaPRcyhJAifttW7L0ZIBaoYev44bxONZbXMQwTbJwZjVhpQ5g9-Ir1LNF6Keo-QqCY45CwL/s425/1.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mary Edna Fraser" border="0" width="500" data-original-height="403" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguYGwl4T235b5rLjToZ_wDMuXA763sN7q8Rc_NFOWOGnzKzkSFRfCMlCALbYugYGryENjtzcPEWc7Q4h0b1EDvhOyFQF7Nvd9sb4V5IkH_3kLkjDQl2F-15NaPRcyhJAifttW7L0ZIBaoYev44bxONZbXMQwTbJwZjVhpQ5g9-Ir1LNF6Keo-QqCY45CwL/s600/1.jpeg"/></a></div>
Mary Edna Fraser.<br />
<br />
A passionate and insightful artist Mary Edna has strived to raise awareness about the fragile beauty and threat to our natural world due to anthropogenic climate change via her exquisite, large scale, signature aerial batiks on silk.<br />
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A world traveller who has traversed extensively documenting the extraordinary landscapes on our planet and elsewhere, Mary Edna is one of the early advocates of environmental art. Her ability to merge the fields of art, photography, science, and academic collaboration into a harmonious whole is evidenced through her years of visual and conceptual consistency through her iconic, multi-layered artworks and installations. Taking aerial photographs of our planet’s landscapes during her 50 year career, her works highlight the rapidly growing effects of climate change and the need to generate a more responsible and sustainable society so as to preserve our natural heritage for generations to come.<br />
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With her generous and adventurous spirit, Mary Edna shares her artistic processes, poetic vision and life’s work to inform and celebrate the connection that we all have with our solar system, in which our home, planet Earth with its lands, oceans, skies and myriad of life forms is contained.<br />
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Below is a vignette of her work. Visit Mary Edna’s <a href="https://maryedna.com/">website</a>, <a href="https://www.facebook.com/MaryEdnaFraser/">facebook</a> and <a href="https://www.instagram.com/maryednastudio/">Instagram</a> for more of her artwork and insights.<br />
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I know you will love her artworks, installations and artistic journey as much as I do.<br />
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Marie-Therese</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>The Art of Mary Edna Fraser: Poetic Landscapes</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">For five decades, batik has been my medium, ranging from 14-inch damask kimono silks to soaring sculpture commissions for atriums. Most of my work is from the aerial vantage point of flying in my Grandfather’s 1946 vintage plane with my Father and Brother as pilots. I have flown and photographed most of the East Coast of America. Hiring instructors allows me to explore more parts of the world. The Great Wall of China and Mount Fuji have been captured through my Nikon camera on jet excursions. Charts, maps, or hiking for panoramic bird’s eye view also spur new designs. A dramatic scale and vibrant colorways impart an emotional response to beloved landscapes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY-_YhTFiJ5chVHVcbGrR1w_vRWELuAsEgbXbTyUuDzcqZPCT1E47gCm9LD7U7c5SDJSxFq2p37fF6LEf2CM0EHw8O1U16c5b8JRJAIk9hAitUv3QXc__ZrVDuxLo0elDcVpDGCzUXMrSuzQIeEpayduqqwYa3zIERaZWfdWS4a16d7YUT2uDXlLSBti1V/s425/2.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Mary Edna’s grandfather’s 1946 vintage plane flying above the landscape" border="0" width="500" data-original-height="291" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY-_YhTFiJ5chVHVcbGrR1w_vRWELuAsEgbXbTyUuDzcqZPCT1E47gCm9LD7U7c5SDJSxFq2p37fF6LEf2CM0EHw8O1U16c5b8JRJAIk9hAitUv3QXc__ZrVDuxLo0elDcVpDGCzUXMrSuzQIeEpayduqqwYa3zIERaZWfdWS4a16d7YUT2uDXlLSBti1V/s600/2.jpeg"/></a></div>
Mary Edna’s grandfather’s 1946 vintage plane flying above the landscape showing views of aerial vantage points that inspire her signature batik artworks. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXwU6Mj-7H1rogXZrKvwo-YNBOTUg9QpYAoDOWOIQyaZhhdzaNNwKp0ZDIzsOeLdMs2UG5PspWu0nlH65cb6NP__QXHq1yENXVrUlHJulxP5_Gh3Ym2H22Tox1fEH1Erjs7jNz-7O1Es17n3Bpd-ObSaXWyMjnpDghMfop-KlN-DgQaO1lj77EvJ7FL6HB/s425/3.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Close up of Mary Edna taking photographs in a vintage plane" border="0" width="500" data-original-height="289" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXwU6Mj-7H1rogXZrKvwo-YNBOTUg9QpYAoDOWOIQyaZhhdzaNNwKp0ZDIzsOeLdMs2UG5PspWu0nlH65cb6NP__QXHq1yENXVrUlHJulxP5_Gh3Ym2H22Tox1fEH1Erjs7jNz-7O1Es17n3Bpd-ObSaXWyMjnpDghMfop-KlN-DgQaO1lj77EvJ7FL6HB/s600/3.jpeg"/></a></div>
A close up of Mary Edna taking aerial photographs from her grandfather’s 1946 vintage plane.<br />
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Although my medium is labor-intensive, I enjoy every part of the art - from the leap in my heart when I see an amazing shot through the camera lens, to the final batik which makes my mind’s eye a reality. The tedious process encourages a meditative approach. Silk is light reflective, perfect for atmospheric images conveyed in the studio. Over one hundred one-woman exhibitions have shown my work, primarily in museums. Presently I teach batik with my daughter Reba Fraser, also a dyer.<br />
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My intent is to convey the essence of place. My generation is the first to have procion dye chemistry available to them. We are also the first to have fast film and satellite imagery. ‘The Batik Art of Mary Edna Fraser’ South Carolina University Press was written by my assistant of 15 years Cecelia Dailey. It is a scholarly publication offering not only techniques of the ancient medium but also what inspires my artistic career.<br />
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I am an environmental activist focused on conveying messages of conservation and stewardship. Partnering with leading experts in the fields of planetary science, coastal geology, and oceanography offers breathtaking perspectives of space, earth, and deep sea. Exhibits and books have given me fantastic experiences with themes as diverse as Global Climate Change, Mapping the Planets, and Envisioning Ocean Depths.<br />
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Aerial photographs tell a story of time. Not geologic time but vast changes that happen in one lifetime. Our ecological awareness should make us all activists. My goal is to use art as a vehicle to make the fragility of our earth come to mind. The batiks convey perspectives that the human eye, maps, and ordinary cameras cannot reveal. I hope the art will act as a catalyst for the preservation of barrier islands for future generations. The works can further inform us of human produced climate-change and degradation: rising tides, intense hurricanes, watershed pollution, and wildfires.<br />
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Silk Painters International honored me as Master Dyer and Keynote speaker in 2021. This technique of resist dyeing has offered me a life of adventure. In 1997 at the World Batik Conference in Yogyakarta, Indonesia, the Dutch Consulate asked me to lecture on my methods with over 40 dyers. TAFTA’s Geelong 2009 and 2011 Orange TAFTA gatherings provided teaching experiences. Sydney Workshops and the Powerhouse Museum premiered <a href="https://www.youtube.com/watch?v=aBN3g70u-LE">Australian Inspirations</a> a film showing aerial excursions and diving in the Great Barrier Reef.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHr08ryV2AVFwBYRPhWfnfiO6d1ilLai5b8Qd6n4u5-U2TRi8nvErrCPG-ZrXYT7O0zd0d9sHR7rKVXXdfMtFNVpIQHFg2rQy5kRDihiKsR0yIpvzdmCw56RvyyYOX3WhSD7V32GTULr_v_3y5tJi6JgcgPdjO-n-jkmOwihpVJoCuQlA-re_OXYY5RgZ4/s425/4.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="500" data-original-height="277" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHr08ryV2AVFwBYRPhWfnfiO6d1ilLai5b8Qd6n4u5-U2TRi8nvErrCPG-ZrXYT7O0zd0d9sHR7rKVXXdfMtFNVpIQHFg2rQy5kRDihiKsR0yIpvzdmCw56RvyyYOX3WhSD7V32GTULr_v_3y5tJi6JgcgPdjO-n-jkmOwihpVJoCuQlA-re_OXYY5RgZ4/s600/4.jpeg"/></a></div>
<b>Title:</b> Australia’s Fraser Island.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Size:</b> 27 x 40 inches.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYbDjCQmNyAI0oBfi20yW70VwVEqFzcVjnOLzqR2DZXDtVEeGQ2dQptZimQmQugqdcJxHpESwnEjkB5dES0z5dEHoRi3nzjse9yabQAPMfd9KmiZG3b-RAAGHhZrqlENbYIRk96mTuAGqDXX_doQc2wVHYKBXZR0DxLaEOBSlqOnW3Dpeh-lf_jmT2ncew/s425/5.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Great Barrier Reef" border="0" width="500" data-original-height="407" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYbDjCQmNyAI0oBfi20yW70VwVEqFzcVjnOLzqR2DZXDtVEeGQ2dQptZimQmQugqdcJxHpESwnEjkB5dES0z5dEHoRi3nzjse9yabQAPMfd9KmiZG3b-RAAGHhZrqlENbYIRk96mTuAGqDXX_doQc2wVHYKBXZR0DxLaEOBSlqOnW3Dpeh-lf_jmT2ncew/s600/5.jpeg"/></a></div>
<b>Title:</b> Great Barrier Reef.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Size:</b> 49.75 x 51.75 inches.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivARhn8JPvE5EazRyvQecSWV6lg9scI7yA7gvVhkdWTfEayTnf1yU5MjmvXLA6DlQrH61HKPp6OTILVmSlXVcarm69B-a0z5vvwbZUnJUEx95LdaamP6jwE7n0_HiL6995FVAdKwAz-SGQmfKsEX43l4Xmj6gGZFAJspLe4GfR0AoE9BMZhgm6Lp59s5Sb/s425/6.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Spencer Gulf" border="0" width="500" data-original-height="300" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivARhn8JPvE5EazRyvQecSWV6lg9scI7yA7gvVhkdWTfEayTnf1yU5MjmvXLA6DlQrH61HKPp6OTILVmSlXVcarm69B-a0z5vvwbZUnJUEx95LdaamP6jwE7n0_HiL6995FVAdKwAz-SGQmfKsEX43l4Xmj6gGZFAJspLe4GfR0AoE9BMZhgm6Lp59s5Sb/s600/6.jpeg"/></a></div>
<b>Title:</b> Spencer Gulf.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Size:</b> 26 x 37 inches.<br />
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I keep about 100 Fiber Reactive dyes in stock and make my own colors, usually 7 per dyeing plus 4 layers of wax and dye. Everything in my studio is moveable for large scale work. The upstairs is devoted to business and I can look down to see how to proceed. The first time I tried batik, I was amazed at the joy of the process. Every painting explores a new technique. Presently I have 3 wonderful people who manage my business and the provenance of 1,500 art works.<br />
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Beeswax, paraffin, electric frying pan, tjanting tools, wax brushes, various dye brushes, and silk are the essential materials. The first waxing is to reserve the original silk, sometimes with an added light wash of colors as an underpainting. Each waxing and dyeing is an abstract piece of art. Sometimes I outline with the tjanting while other designs require wax brushes. 4 layers of wax and dye achieve a nice depth with darkest dyes last. I iron between newsprint to remove the wax, dry clean, and wash in Synthrapol.<br />
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<a href="https://www.codaworx.com/projects/charleston-charted/">Charleston Charted</a> is my 171”x 54” batik which took 4 months of studio time and was translated to a 40‘ x 13.5’ metallic canvas installation. I am a commission artist and <a href="https://www.codaworx.com/projects/above-mobile-bay-gulfquest-the-national-maritime-museum-of-the-gulf-of-mexico/">Above Mobile Bay</a> won an international award for collaboration with architects and designers. <a href="https://maryedna.com/installations/global-perception/">Global Perception</a> was suspended from 22 points of a triangular ceiling grid between the 2nd and 4th floor of a Fortune 500 company. A mountain climber installed the 7’, 14’ and 21’ drapes of Buckminster Fuller’s Dymaxion Map. I did pay for the use of his design and it is thought to be the largest silk sculpture on the planet. Alas, the company changed hands and parts were damaged, but I still have large segments to display in museum exhibits.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGj7jMfIQBQL4HG-_HD_ug2o4URi1TfMnid_F9FjBXoKzA-2ZoBseEr9Y9wg6GK5jy0DXnxVucwNGPl3tv9psA5QkgtUmzRnBx-RSK-wfBSd0Qn713RwkCUmM8YVGfgAQ6--UozDrFiIJbLftgz2UdSG3Vu80Bl9ADKZytZRECVFEIpCVimktpJl6VtbZx/s425/7.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Charleston Chartered" border="0" width="500" data-original-height="238" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGj7jMfIQBQL4HG-_HD_ug2o4URi1TfMnid_F9FjBXoKzA-2ZoBseEr9Y9wg6GK5jy0DXnxVucwNGPl3tv9psA5QkgtUmzRnBx-RSK-wfBSd0Qn713RwkCUmM8YVGfgAQ6--UozDrFiIJbLftgz2UdSG3Vu80Bl9ADKZytZRECVFEIpCVimktpJl6VtbZx/s600/7.jpeg"/></a></div>
Working on the initial stages of Charleston Charted in my studio.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivlrMAsSMH4ar9xYG5v4ZtWd63ph-yXDygKjGvGUyHw7r955jHA2y2Q0gIha6Psm-t79DEtKq73VyL3OuuOTGQ5OVMYZ_aHwipGOAGpexIWenz8Ou1OF_re7M_CLspOcVWxfjb4zu9Cb0YbsfSyIR2ZgaYs8GmAq3GUCh4fsHWcpT2lSwSFECYIrxyYicE/s425/8.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Charleston Chartered" border="0" width="500" data-original-height="240" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivlrMAsSMH4ar9xYG5v4ZtWd63ph-yXDygKjGvGUyHw7r955jHA2y2Q0gIha6Psm-t79DEtKq73VyL3OuuOTGQ5OVMYZ_aHwipGOAGpexIWenz8Ou1OF_re7M_CLspOcVWxfjb4zu9Cb0YbsfSyIR2ZgaYs8GmAq3GUCh4fsHWcpT2lSwSFECYIrxyYicE/s600/8.jpeg"/></a></div>
Working on the final stages of Charleston Charted in my studio.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKnUHe_yAxir1emStQnA2NRYoyQar_O0sgFSJf9wBuroFma7addA1i9wW4YyYJjqbqIVqzutwfK5eNxXJaHNlpINpwPlPwvy5Jzica3pRkXPjsyEgGcGCxB8c-zNrFjyANcEQeP2Hy--pCo2dR84ua2qHIIh-jsU0lterN6x3RUDGrP3bOgM_UQNRyTMTH/s1298/9.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Charleston Chartered" border="0" height="1298" data-original-height="1298" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKnUHe_yAxir1emStQnA2NRYoyQar_O0sgFSJf9wBuroFma7addA1i9wW4YyYJjqbqIVqzutwfK5eNxXJaHNlpINpwPlPwvy5Jzica3pRkXPjsyEgGcGCxB8c-zNrFjyANcEQeP2Hy--pCo2dR84ua2qHIIh-jsU0lterN6x3RUDGrP3bOgM_UQNRyTMTH/s600/9.jpeg"/></a></div>
<b>Title:</b> Charleston Charted.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Size:</b> 171 x 54 inches.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02lT1SEydqUwgMzTXM-eqaV89QAT8tA1EaflykhZtv5AbvfYl964iEUcVrEoW5Zd5NftULnRoowyFwLtvgUmzeXaoCYKbMjn1LLOg0gozXZ0B9GV7CNWl23bXK0VF1ukTRzwrv_fxVIKa_VaZgfeE804sVbKU9kz7k716Gc2Cb7QXiwj0tbLT7u9dz0N4/s425/10.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Above Mobile Bay" border="0" width="425" data-original-height="387" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02lT1SEydqUwgMzTXM-eqaV89QAT8tA1EaflykhZtv5AbvfYl964iEUcVrEoW5Zd5NftULnRoowyFwLtvgUmzeXaoCYKbMjn1LLOg0gozXZ0B9GV7CNWl23bXK0VF1ukTRzwrv_fxVIKa_VaZgfeE804sVbKU9kz7k716Gc2Cb7QXiwj0tbLT7u9dz0N4/s600/10.jpeg"/></a></div>
<b>Title:</b> Above Mobile Bay.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Exhibition Mode:</b> Installation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZflkLICtS_fUj6hYPXsy1Hrg9s4DHhO4M3RrwZEoQyrYCQmpXjMo1VhbFQMVR_hSoJDN7oxGYDa093j8prGsysKdwIxZuxFybFPlsx0yUJsZXq_nMhfdq_GwxN5iMvdrC_6TaxVhou7Cu3T1sZ-W-r6vXYQD-J2r28KCYkvMw091JCEYy2ahpQD307J58/s651/11.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Global Perception" border="0" height="600" data-original-height="651" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZflkLICtS_fUj6hYPXsy1Hrg9s4DHhO4M3RrwZEoQyrYCQmpXjMo1VhbFQMVR_hSoJDN7oxGYDa093j8prGsysKdwIxZuxFybFPlsx0yUJsZXq_nMhfdq_GwxN5iMvdrC_6TaxVhou7Cu3T1sZ-W-r6vXYQD-J2r28KCYkvMw091JCEYy2ahpQD307J58/s600/11.jpeg"/></a></div>
<b>Title:</b> Global Perception.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Exhibition Mode:</b> Installation.<br />
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<a href="https://maryedna.com/installations/charleston-waterways/">Charleston Waterways</a> is my first sculpture made of 7 drapes for a 20’ x 12’ x 20’ atrium. I used electrical conduit and chain for installation. Destroyed by Hurricane Hugo in 1989, it was recommissioned. I learned that space eats color so the dyes were intensified. Exploring Deep Sea Volcanoes off the Coast of Barbados is a film made with Celie Dailey to show what it was like to be on the research vessel, Atlantis, as an artist. I painted watercolors which later became designs for batiks on silk and an exhibition. Science has always been important to my work. It was amazing to see the scientists work around the clock with the artists. <a href="https://www.youtube.com/watch?v=DQ7PKfaYvas">Exploring Deep Sea Volcanoes off the Coast of Barbados.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXT7kfUmiH7AMFtecGoFew9PTvHem4spxdDtJPrILynphXd9dgoSdVVhlfCQPvbpGpTApsRMAixpiGvaNTsN78EW7k-d9nXe1qKkTm1fUoruXVaGKkHrXuzTCErG5KKFG6-fUt_m4ek3O_udsIkKjGe0k6YsBUUCBXj12TL3JCIvEkXolJOBLszvzGfE1y/s514/12.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Charleston Waterways" border="0" height="600" data-original-height="514" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXT7kfUmiH7AMFtecGoFew9PTvHem4spxdDtJPrILynphXd9dgoSdVVhlfCQPvbpGpTApsRMAixpiGvaNTsN78EW7k-d9nXe1qKkTm1fUoruXVaGKkHrXuzTCErG5KKFG6-fUt_m4ek3O_udsIkKjGe0k6YsBUUCBXj12TL3JCIvEkXolJOBLszvzGfE1y/s600/12.jpeg"/></a></div>
<b>Title:</b> Charleston Waterways.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Exhibition Mode:</b> Installation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL75JV3jA_hK9NfDy7knUuwxoxixm9Om6TqOXiGVDqsKUsID31HWthVKXnTA3ZHk2_uotU-ZkjL2y5ZOZ41e1T4WKzNKIl-2gwGwKp1lnjS7-G41n7SD3hSh8WrYd_AjXYzF5tanaD7mKEsFDNcgRHWNCW61NGmapBeGKKbl0QUsjp51xnMTF_5aqe-_HZ/s2447/13.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Deformation Zone" border="0" height="1000" data-original-height="2447" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL75JV3jA_hK9NfDy7knUuwxoxixm9Om6TqOXiGVDqsKUsID31HWthVKXnTA3ZHk2_uotU-ZkjL2y5ZOZ41e1T4WKzNKIl-2gwGwKp1lnjS7-G41n7SD3hSh8WrYd_AjXYzF5tanaD7mKEsFDNcgRHWNCW61NGmapBeGKKbl0QUsjp51xnMTF_5aqe-_HZ/s600/13.jpeg"/></a></div>
<b>Title:</b> Deformation Zone.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Size:</b> 203.5 x 36 inches.<br />
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<a href="https://maryedna.com/exhibs/mapping-the-planets-in-silk-and-sound/">Mapping the Planets in Silk and Sound</a> is a multimedia approach to heavenly bodies and galaxies. Luckily I was named NASA 'Artist of the Year' in 1995 which gave me an opportunity to work with leading outer space scientists. Musician Mark Mercury created the soundtrack. In 1994-1995 the Smithsonian National Air and Space Museum in Washington, DC featured Aerial Inspirations: Silk Batiks by Mary Edna Fraser, which began my work with Professor Emeritus Orrin Pilkey. We have since collaborated on two books: ‘A Celebration of the World’s Barrier Islands’ (Columbia University Press) and ‘Global Climate Change: A Primer’ (Duke University Press). I consider him my 'Boss' and we still work together on the traveling exhibition <a href="https://maryedna.com/exhibs/our-expanding-oceans/">'Our Expanding Oceans.'</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbNSJW0YeCCi2LSsChdd83rFs7goHubVWsI7ZhwNJs3GBSqWGpUqr_tBMAKJRd4tfhyk7OnGEHTRQjBxg2LK44egVMF2F-PspdVedG475KF963WEFMf1jLNmYNTVppr5ef0kh-CP2AmvLJoJ0QNZ5F9pWKQmZ9UDg4cxro-ST3L1c0fa6DRC3WXDW7Da1K/s909/14.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Our Galaxy" border="0" height="900" data-original-height="909" data-original-width="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbNSJW0YeCCi2LSsChdd83rFs7goHubVWsI7ZhwNJs3GBSqWGpUqr_tBMAKJRd4tfhyk7OnGEHTRQjBxg2LK44egVMF2F-PspdVedG475KF963WEFMf1jLNmYNTVppr5ef0kh-CP2AmvLJoJ0QNZ5F9pWKQmZ9UDg4cxro-ST3L1c0fa6DRC3WXDW7Da1K/s600/14.jpeg"/></a></div>
<b>Title:</b> Our Galaxy.<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Size:</b> 171 x 51 inches.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokHGw1WvgVWE1uH1Wp2gSoowd7UihrS_Uts_pY2hpJ3IVnF5HUvlGYGuD4rBLja3pUFOlEXsHsOtvAOh0-R8q5P0kcdkpiBB30Bu6_I1tIVDmiZuNTF7p7o4BxM-zZ_ilOMzI_wO2RqjcPm1ItyZidiscdSyqW9dkYXrVde7AhtdcesVi-wq7xapAZ0QY/s679/15.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="Edisto IV (SC)" border="0" height="679" data-original-height="679" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokHGw1WvgVWE1uH1Wp2gSoowd7UihrS_Uts_pY2hpJ3IVnF5HUvlGYGuD4rBLja3pUFOlEXsHsOtvAOh0-R8q5P0kcdkpiBB30Bu6_I1tIVDmiZuNTF7p7o4BxM-zZ_ilOMzI_wO2RqjcPm1ItyZidiscdSyqW9dkYXrVde7AhtdcesVi-wq7xapAZ0QY/s600/15.jpeg"/></a></div>
<b>Title:</b> Edisto IV (SC).<br />
<b>Technique and Media:</b> Batik on silk.<br />
<b>Size:</b> 64 x 40 inches.</span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Conclusion</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">I live in Charleston, SC, where the lush tropical landscape is surrounded by marsh, ocean, and islands. This visual poetry sinks into my memory. The intuitive creative expressions are emotional. As an elder, I paint with oils, 3’ x 8’ canvases on location outdoors in threatened landscapes. This practice presents new discoveries which can then be applied to the lovely experience of painting on silk. Learn more & view these works via my <a href="https://maryedna.com/">Artist website</a></span><br />
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<span style="font-family: Helvetica; font-size: 11pt;"><b>Biography</b></span><br />
<span style="font-family: Helvetica; font-size: 10pt;">The pioneering work of American artist Mary Edna Fraser has been collected and exhibited worldwide. Her large-scale silk batiks (an ancient resist process using wax and dye on cloth) feature aerial landscapes, deep ocean waterscapes, and outer space imagery. Her newest endeavor, oil paintings, use a panoramic perspective to give a sense of the bird’s eye view. The common thread in her career of four decades is environmental awareness.<br />
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Collaboration with geoscientist Orrin H. Pilkey has yielded numerous traveling exhibitions and two acclaimed texts, ‘Global Climate Change: A Primer’ (Duke University Press) and ‘A Celebration of the World’s Barrier Islands’ (Columbia University Press).<br />
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NASA recognized Fraser as their Artist of the Year in 1995 and she was featured demonstrating batik in DC at the Smithsonian Folklife Festival. As artist in residence at Sperry Chalet in Glacier National Park in 2015, her oil paintings became prominent in her repertoire. The Verner Award was presented in 2016, South Carolina’s highest honor for an artist.</span>
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</div> Art Quill Studiohttp://www.blogger.com/profile/01572566321377324295noreply@blogger.com0