Australian Aboriginal Rock Art - Part I [1]Art EssayMarie-Therese Wisniowski

Preamble
For your convenience I have listed below other posts on Australian aboriginal textiles and artwork.
Untitled Artworks(Exhibition - ArtCloth: Engaging New Visions) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya, Ernabella Arts (Australia)
ArtCloth from the Tiwi Islands
Aboriginal Batik From Central Australia
ArtCloth from Utopia
Aboriginal Art Appropriated by Non-Aboriginal Artists
ArtCloth from the Women of Ernabella
ArtCloth From Kaltjiti (Fregon)
Australian Aboriginal Silk Paintings
Contemporary Aboriginal Prints
Batiks from Kintore
Batiks From Warlpiri (Yuendumu)
Aboriginal Batiks From Northern Queensland
Artworks From Remote Aboriginal Communities
Urban Aboriginal ArtCloths
Western Australian Aboriginal Fabric Lengths
Northern Editions - Aboriginal Prints
Aboriginal Bark Paintings
Contemporary Aboriginal Posters (1984) - (1993)
The Art of Arthur Pambegan Jr
Aboriginal Art - Colour Power
Aboriginal Art - Part I
Aboriginal Art - Part II
The Art of Ngarra
The Paintings of Patrick Tjungurrayi
Warlimpirrnga Tjapaltjarri
Australian Aboriginal Rock Art - Part I
Australian Aboriginal Rock Art - Part II

Australian Aboriginal Rock Art - Part I
The spiritual life of Aboriginal people centers on the Dreaming. The Dreaming is a European term used by Aboriginals to describe the spiritual, natural and moral order of the cosmos. It relates to the period from the genesis of the universe to a time beyond living memory. The term does not refer to the state of dreams or unreality, but rather to a state of a reality beyond the mundane. The Dreaming focuses on the activities and epic deeds of the supernatural beings and creator ancestors such as the Rainbow Serpents, the Lightning Men, the Wagilag Sisters, the Tinhgari and Wandjina, who, in both human and non-human form, travelled across the unshaped world, creating everything in it and laying down the laws of social and religious behaviour. The Dreaming is not, however, merely a guide for the living, an agent of social control, or simply a chronical of creation, restricted in time to a definable past. The Dreaming provides ideological framework by which human society retains a harmonious equilibrium with the universe - a charter and mandate that has been sanctified over time.

Rock painting.
Kakadu, Northern Territory, Australia.

Rock engraving (ca. AD 500).
Mount Cameron West, Tasmania, Australia.

Rock painting of 'Lightning Brothers' and 'Lightning Figures.'
Katherine River, Northern Territory, Australia.

Rock art hand stencil.
Kakadu, Northern Territory, Australia. Dated, 9-20,000 years before the present.

Narrative, rock painting.
Musgrave Ranges, South Australia.

Gwion, Gwion, rock painting.
The Kimberley, Australia. Dated ca., 3000 years before the present.
Note: In Aboriginal lexicon, repeating a noun implies that it is of great significance. That is, you may place the noun 'Great' in front of it. For example, Gwion, Gwion would translate as 'Great Gwion.'

Rock drawing of kangaroos.
Wilton, NSW, Australia.

Rock painting (1960).
Najombolmi, Hunter, NSW, Australia.

Unknown artist.
Spearing a kangeroo. Mimih.
Note: Mimih spirits are believed to inhabit the rocky escarpments around Gunbalanya (Northern Terrritory, Australia), but because they are extremely timid, they are rarely seen by humans.

Unknown artist. Jimmy Midjaw Midjaw.Nadulmi in his kangaroo manifestation, as Wubarr leader (Northern Terrritory, Australia).

Reference:
[1] W. Caruana, Aboriginal Art, Third Edition, Thames & Hudson, (2012),

3A Crew [1] (Street Art)Artists ProfileMarie-Therese Wisniowski

3A Crew [1]
Graffiti writer, Ges, decided to set up the USA-based 3A in 1995 after the motivation in his old crew lost momentum. He has been working with core member Kem 5 since 1997, and they had a clear artistic influence on each other, both have an abstract 'wildstyle' often creating uncomplicated fill-ins (areas inside the letters that are colored in) on a simple toned-down background. Totem 2, another important 3A figure, has given the crew a whole new flair with his innovative characters, which have been inspired by Japanese martial arts, robots and comic books.

'The international connexion of writers is one of the many aspects of the culture that seems to be exclusive to graffiti,' says Ges. 'Only in the grafitti world can you get off a plane in another continent and end up staying in a random person's home.'

Graffiti One. Compare the wooden blocks. Which do you prefer?

Graffiti Two.

Graffiti Three.

Graffiti Four.

Graffiti Five.

Graffiti Six.

Graffiti Seven, Eight and Nine.

Graffiti Ten.

Graffiti Eleven.

Graffiti Twelve.

Graffiti Thirteen.

Reference:
[1] N. Ganz, Ed. T. Manco, Griffiti World, "Street Art from Five Continents," N. Abrams, Inc., New York, 2004.

Hannah Truran [1]Artist ProfileMarie-Therese Wisniowski

Preamble
For you convenience I have listed below other posts in this series which were sourced from the book - The Pattern Base[1]:
The Pattern Base by Kristi O'Meara - Book Review
The Art of Lorenzo Nanni
The Geometric Abstract Designs of Kristi O'Meara
Representational Designs of Kristi O'Meara
Geometric Patterns Designed by Patrick Morissey and Jasmin Elisa Guerrero
Fabric Swatches - Part I
Hannah Truran
Fabric Swatches - Part II
Fabric Swatches - Part III

Hannah Truran
Hannah Truran is a London-based textile designer/maker, who specialiizes in prints. Originally trained in illustration, Truran was drawn to textiles because of her desire to create a fantasy world. After several years of working on textile designs for interiors, she finally had the chance to explore this intensively, during her masters studies at the Royal College of Art in London.

Hannah Truran.

Her graduation collection 'Volstar' is a set of body pieces designed for a futuristic warrior huntress. Inspired by the ancient belief systems, geology and dystopian visions, she sought to evoke an other worldliness through textiles. Using a combination of precious surfaces. engineered prints and sculptural forms, she transposes her dreams into wearable textile artworks.

A Truran Creation.

Detail of above garment.

Samplers of above garment.

Another Creation.

Another Creation.

Detail of above creation.

Another Creation.

Detail of the above creation.

Reference:
[1] The Pattern Base, Kristi O'Meara (Ed. A. Keiffer) Thames & Hudson (2015).

Fabric Swatches - Part IArtClothMarie-Therese Wisniowski

Preamble
For you convenience I have listed below other posts in this series which were sourced from the book - The Pattern Base[1]:
The Pattern Base by Kristi O'Meara - Book Review
The Art of Lorenzo Nanni
The Geometric Abstract Designs of Kristi O'Meara
Representational Designs of Kristi O'Meara
Geometric Patterns Designed by Patrick Morissey and Jasmin Elisa Guerrero
Fabric Swatches - Part I
Hannah Truran
Fabric Swatches - Part II
Fabric Swatches - Part III

Fabric Swatches - Part I

Creator: Louise Mills Textiles (2007).
Title: Double Cloth Neon.
Collection: Neutral Collection.

Creator: Kristen Pickell (2009).
Title: Woven Nostalgia, Pink and Gold #1.

Creator: Kristen Pickell (2009).
Title: Woven Nostalgia, Pink and Gold #2.

Creator: Janna Roküsek.
Title: Untitled.
Collection: Sloan Collection, Spring/Summer 2012, 2013.

Creator: Amy Jo Lewis (2011).
Title: Lace Coverlet.

Creator: Louise Mills Textiles (2011).
Title: Fashion Fabric Shetland Sunset.

Creator: Etta Sandry (2012).
Title: A Scale of Opinions in Blue and Orange (#1).

Creator: Etta Sandry (2012).
Title: A Scale of Opinions in Blue and Orange (#2).

Creator: Louise Mills Textiles (2007).
Title: Double Cloth Bricks (#2).

Creators: Dan Riley & Jeanine Han (2010).
Title: Untitled.
Note: From the body of work called 'Textilen and Electric Ribbon' by Dan Riley & Jeannine Han.

Creators: Roshannah Bagley (2009).
Title: Rutu.

Reference:
[1] The Pattern Base, Kristi O'Meara (Ed. A. Keiffer) Thames & Hudson (2015).

Pigments for Fresco Painting - Part IIArt ResourceMarie-Therese Wisniowski

Preamble
This is the thirty-fourth 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:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
Pigments for Fresco Painting - Part I
Pigments for Fresco Painting - Part II
Selected Fresco Palette for Permanent Frescoes
Properties of Pigments in Common Use
Blue Pigments - Part I
Blue Pigments - Part II
Blue Pigments - Part III

There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.

To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. 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 Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.

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.

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!

Pigments for Fresco Painting - Part II
Today we will be documenting the traditional Italian fresco palette and the modern fresco palette in this ongoing series on Pigments in general.

Traditional Italian Fresco Palette.

White
Bianco San Giovanni.

Bianco San Giovanni.
Note: Fine white pigment, according to Cennino Cenninis recipe.

Black
Lampblack.

Lampblack (Carbonblack/Soot) pigment.

Red
Native Venetian red or Spanish red. Pozzuoli red and other native red oxides. Burnt sienna. Vermilion applied secco.

Venetian Red.

Blue
Egyptian blue. Azurite. Smalt. Native ultramarine applied secco.

Egyptian Blue.

Green
Green Earth. Mixtures of blue and yellow.

Green Earth.

Yellow
Ochre. Raw sienna.

Raw Sienna.

Brown
Raw Umber, Burnt Umber and Burnt Green Earth.

Raw Umber.
Note: Refined, washed, and burnt native oxides were well known.

Modern Fresco Palette.
White Slaked lime putty, Bianco San Giovanni and neutral blanc fixe.

Bianco San Giovanni.

Black
Mars Black and Lampblack.

Mars Black.

Red
Several shades of pure artifical red oxides: Mars Red, Indian Red, Light Red, etc. Burnt Sienna.

Indian Red.

Blue
True Cobalt Blue. Cerulean Blue.

Cerulean Blue.

Green
Viridian, Chromium Oxide, and Cobalt Green.

Viridian.

Yellow
Mars Yellow, French Ochre. Italian Raw Sienna.

Mars Yellow.

Violet
Cobalt Violet and Mars Violet.

Cobalt Violet.

Brown
Raw Turkey Umber, Burnt Turkey Umber and Burnt Green Earth.

Turkey Umber.

Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).