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 IV
Dan Riley and Jeannine Han
Dan Riley and Jeannine Han [1]
Dan Riley and Jeannine Han resided in 2015 in New York City (USA). Their engrossing projects have involved patterns and textiles, costumes, sound, sound as sculpture, perfomance, installations, paintings and technology.
Dan Riley.
Close-up pattern of hooded garment that Dan Riley is wearing.
Dan Riley and Jeannine Han in New York City.
Their experimental work finds new ways to use technology and visual axioms for performances and sound arts in site-specific environments. The correlation between sound and patterns is an integral part of their work and they aim to create art that is playful, yet intelligent, and excites greater cognitive levels in the viewer and the creators.
Riley and Han's work has become a catalyst in the realization and prognostication of a cycle of the world as we know it, and fills gaps between now and forever.
Dan Riley and Jeannine Han's outfit 1.
Dan Riley and Jeannine Han's outfit 2.
Dan Riley and Jeannine Han's outfit 3.
Fabric Swatch 1.
Fabric Swatch 2.
Reference:
[1] The Pattern Base, Kristi O'Meara (Ed. A. Keiffer) Thames & Hudson (2015).
Preamble
For your convenience I have listed below the annual reviews that span the life of this blogspot.
It's Been An Exciting Year (2010/2011)
Another Cheer - Another Year (2011/2012)
Where Did The Year Go? (2012/2013)
The Year of the Horse (2013/2014)
Cold and Windy - But on the Dawn of Renewal (2014/2015)
A Time To Reflect - A Time To Select (2015/2016)
A Time to Remember (2016/2017)
To Be or Not to Be (2017/2018)
The Night Too Quickly Passes (2018/2019)
The Year of Living Dangerously (2019/2020)
Attempt The Impossible Since Failure Will Still Be Your Success (2020/2021)
A Year of Climate Extremes (2021/2022)
I Love A Sunburnt Country (2022/2023)
Australian Rules (2023/2024)
Year of the Snake (2024/2025)
Howzat? (2025/2026)
How's That?
The History of Australian cricket began over 210 years ago. The first recorded cricket match in Australia took place in Sydney in December 1803 and a report in the Sydney Gazette on 8 January 1804 suggested that cricket was already well established in the infant colony. By 1826, clubs including the Currency Cricket Club, the Military Cricket Club and the Australian Cricket Club had been formed. Hyde Park, and the Racecourse were the venue for these organised matches. The formation of clubs in Van Diemen's Land (later named Tasmania) was not far behind with clubs formed in Hobart in 1832 and Launceston in 1841. In Western Australia a match was arranged in 1835 between the "builders" (probably architects and engineers) of the new Government House and a team of labourers and "mechanics" (an archaic term for trades people). In what would later become Victoria (Australia), in 1838, the Melbourne Cricket Club was formed – it would become arguably Australia's most exclusive and influential cricket club. In 1839, a club was formed in South Australia.
Intercolonial cricket in Australia started with a visit by cricketers from Victoria to Tasmania in February 1851. The match was played in Launceston on 11–12 February with Tasmania winning by three wickets. Another three matches between the two teams were played before 1854 but in time the crossing of Bass Strait became less attractive to the Victorians and the focus turned to the neighbouring colony of New South Wales. These matches attracted large crowds, including a crowd of 15,000 at a match in Sydney in January 1853. Boards of control were formed in the various colonies: New South Wales in 1857, Victoria in 1864 and South Australia in 1871.
In May to October 1868, a cricket team composed of Aboriginal Australians toured England, becoming the first organised group of Australian sportspeople to travel overseas. It would be another ten years before an Australian cricket team classed as representative of Australia toured Britain.
The concept of an Aboriginal cricket team can be traced to pastoral stations in the Western District of Victoria, where, in the mid-1860s, the European owners introduced Aboriginal station hands to the sport. An Aboriginal XI was created with the assistance of Tom Wills, the captain of the Victorian cricket team and founder of Australian rules football, who acted as the side's captain-coach in the lead-up to and during an 1866–67 tour of Victoria and New South Wales.
Aboriginal cricket team at the Melbourne Cricket Ground in 1867.
In cricket, an appeal, locally pronounced as a 'Howzat,' but in reality its meaning is, 'How is that?', is the act of a player (or players) on the fielding team asking an umpire for a decision regarding whether a batter is out or not. According to Law 31 of the Laws of Cricket, an umpire will not rule a batter out unless the fielding side appeals for a decision. An appeal covers all forms of dismissal, regardless of what the fielding team believes they are appealing for. On occasions when a batter has otherwise technically been out, the fielding team has not realised, so did not appeal, and so the umpire will not declare the batter to be out. An appeal may be made at any point before the bowler starts their run-up for delivery of the next ball.
Howzat? (2025/2026)
The number of categories on this blogspot keeps growing. They are as follows: (i) ArtCloth, Art Quilts, Textile Art; (ii) Art Essays; (iii) Art Exhibitions/Installations/Talks; (iv) Artist's and Designer's Profiles; (v) Art Resources; (vi) Art Reviews; (vii) Book Reviews/Interviews; (viii) Craft and Quilt Fairs; (ix) Fabric Lengths; (x) Glossaries; (xi) Guest Artists/Authors/Creatives/Guest Editors; (xii) Opinion Pieces; (xiii) Prints on Paper; (xiv) Resource Reviews; (xv) Technical Articles; (xvi) Wearable Art; (xvii) Workshops and Master Classes (i.e., my students outputs).
Note: Not all of these categories are present in any given year. For example, this season there were no Book Reviews/Interviews, or for that matter, Guest Artists/Author/Creatives, Guest Editors, Fabric Lengths, or Opinion Pieces. Futhermore, there were no new Glossaries, although several of the Glossaries were substantially increased in content (e.g., click on the following link - Glossary of Art, Artists, Art Motifs and Art Movements to access all the glossaries).
I do realize that judging a post by a single criterion, namely, the most number of views, is not necessarily the smartest approach, since the length of stay of a viewer on that paticular post might negate the former statistic. How often have you heard yourself say - 'Oops I really didn't mean to google this site when I googled "snake" and it landed on not the animal, but on a man's boxer shorts.' Within second, I promise I ditched the site! Nevertheless, this one statistic makes it easier for me to make a judgement about which posts were popular, and so it will be used as the final arbitrator, except in the case when two posts differ by less than two viewers in total. Then I will decree that both are joint winners!
Note: Within each category we are only talking about differences in number of page views, rather than the absolute number of page views.
ArtCloth, Art Quilts and Textile Art
There were twelve posts in this category in the 2025/2026 season, which is equal in number to the Art Resource posts. The two that got the largest number of page views in this category were only two weeks apart, namely: Time Waits for No Man and Art Quilts of Karin Franzen, with the former having 77 more page views and so is the winner in this category.
Title: Time Waits for No Man (Full View).
Artist: Marie-Therese Wisniowski.
Techniques and Media: Hand painted, silk screened, mono printed, stamped and collaged employing transparent, opaque, and metallic pigments on cotton.
Size: 30 cm high x 19.5 cm wide.
Year of Creation: 2025.
Edition: 1/1.
Art Essays
There were six posts in this category in the 2025/2026 season, with the following two having the most page views, namely, Katazome (Stencil Dyeing) - Part III and Optical Illusions - Part II, with the former being ahead by only four page views.
Man on the Moon.
This image of Buzz Aldrin's helmet was made out of a collage of space images.
Art Exhibitions/Installations/Talks
There were no posts in this category in 2025/2026 season.
Artist/Designer Profiles
There were four posts in this category in 2025/2026 season, with the two most popular in terms of page views being: Maurits C. Escher (1898-1972) and Abby Thomas, with the former having two hundred and sixty-eight more page views and so is the winner in this category.
Escher with wife Jetta Umiker (her maiden name).
Art Resources
The Art Resources posts are generally the first post in any given month and so they tend to numerically dominate the number of page views of the published posts in any given year. Also the posts in this category that were published early in the season have a longer time duration on the blogspot and so feature more prominently in terms of the page views statistics compared to more recently published posts. Hence it is not surprising that the two most viewed posts in this category were one month apart and moreover, featured early in the publishing cycle of the accounting period. The two most viewed posts in this category in 2025/2026 were: White Pigments - Part I and White Pigments - Part II, with the former having 183 more page views.
Guest Editors
There was only one Guest Editor in the 2025/2026 season and that was Robyn Werkhoven, who penned "The Journey of Studio La Primitive Arts Zine".
Prints on Paper
There were four Prints on Paper posts in 2025/2026 season, with the two most viewed being four months apart and they were: Intaglio Prints Created Using Solarplates [1] - Part VI and Margaret Preston and Printmaking, with the former having 147 more page views.
Creator: Yvonne Boag.
Title: Nowhere Road (1998).
Print: Double exposure.
Size: 12 x 16.75 in (30.5 x 42.5 cm).
Comment: Yvonne Boag created two drawings on semi-matte drafting film with lithographic crayons and graphite pencils. The two films were partially overlaid and taped together, then exposed in a vacuum frame using the double exposure technique. Inked a la poupée, this print shows the fine marks and textures that the double exposure technique can preserve.
Courtesy: Comtempory Access Gallery (Australia).
Wearable Art
There were six posts in this category in the 2025/2026 season, with the two most viewed posts being Felt Objects - Part II and Traditional Batik Clothing, with the latter having 56 more page views and so is the winner in this category.
A central Javanese bridal couple, 1975. Men wear the dodot over tight trousers made of cinde cloth. The higher the status or class, the more these trousers are visible. The dodot trails a little at the back, falling over the dagger sheath and is lifted by several train carriers. The dagger (kris) is held in a wide belt called pangsit. The head is covered by a stiff Persian cap called kuluk. The upper trunk is uncovered. Women wear the dodot over the kain panjang, the upper trunk slightly bound with a breastcloth. The draping is carried out by selected servants and follows strictly in accordance with a prescribed ritual.
Workshops and Master Classes (i.e., my students outputs)
Due to the number of extracurricular activities (e.g., penning, designing and creating a soon to be published printmakers book) there were no workshops and masterclasses that I taught in 2025/2026 season.
Conclusion
I hope you have enjoyed this review of my yearly posts between August of 2025 to August of 2026 of the "Howzat" review.
Reference:
[1] https://vinpearl.com/en/vietnamese-new-year-animals-12-signs-their-symbolism.
Preamble
For your convenience I have listed below other posts in this series:
Diversity of African Textiles
African Textiles: West Africa
Stripweaves (West Africa) - Part I
Stripweaves (West Africa) - Part II
Stripweaves (West Africa) - Part III
Stripweaves (West Africa) - Part IV
Djerma Weaving of Niger and Burkina-Faso
Woolen Stripweaves of the Niger Bend
Nigerian Horizontal - Loom Weaving
Yoruba Lace Weave
Nigerian Women's Vertical Looms
The Supplementary Weft Cloths of Ijebu-Ode and Akwete
African Tie and Dye
Tie and Dye of the Dida, Ivory Coast
African Stitch Resist
Yoruba Stitch Resist
Yoruba: Machine-Stitched Resist Indigo-Dyed Cloth
Yoruba and Baulé Warp Ikat
Nigerian Starch-Resist (by hand)
Stencilled Starch-Resist
Wax Resist
Stamped, Stencilled and Dyed Clothing from Sierra Leone, Guinea and Mali
Stamped, Stencilled and Dyed Clothing from Sierra Leone, Guinea and Mali
Kola nut (usually Cola nitida) grows abundantly in this region, in both the wild and the cultivated state. It is traded throughout West Africa and is generally chewed as a stimulant, in the manner of the areca nut and betal leaf in India.
Kola Nuts.
Other varieties, such as Cola acuminata, Cola verticillata, and Cola anomala, are grown in other parts of West Africa, but Cola nitida is the most important one. It was exported to Britain in the 1890s, in later times to America, where it formed the basis of carbonated cola drinks such as Coca-Cola.
In West Africa, Cola nitida is also used as a quick and easy coloring agent to dye clothing an orange brown. This clothing may also be decorated by stamping or stencilling with vegetable dyes. In Guinea, women stencil out simple vegetal designs on to kola-dyed men's and boy's smocks.
Dyeing with kola nut in Guinea.
Women in Guinea stencilling patterns on to kola-dyed cloth.
In the north of Sierra Leone, the dyes are different. The Limba and Yalunka stamp simple designs with vegetable dyes onto a brown-dyed cloth, a technique called huronko.
Selling huronko cloth in the market in Freetown, Sierra Leone.
The pioneering textile researchers in Venice, and Alastair Lamb observed that, in Sierra Leone, the brown dyes were obtained from mahogany, other tree roots and some bark. These dyes were then when boiled up, then left overnight and strained. Cloth was immersed in the resulting dye bath for a few hours, then left in the sun to oxidize. This process would be repeated four to fifteen times to deepen to a shade of brown. Yellow was obtained by just using mahogany bark. The stamping mixture consisted of a compost of leaves and iron-bearing river mud, while the stamps were carved out of raphia palm. One popular pattern today is 'Commando Boot Sole,' reflecting the horrendous civil war of the 1990s. In Guinea, the women break the kola nut and immerse it in water for a short period until it produces a suitable dye.
Huronko woman's wrap, printed in the Commando Boot Sole pattern, Limba people, Sierra Leone.
Stripwoven, kola-dyed cotton smock of a Bamana farmer, Mali.
Limba hunter's shirt dyed with an infusion of tree roots and printed with a leaf and mud-based dye. This type of work is known as "huronko."
Reference:
[1] J. Gillow, African Textiles, Thames & Hudson Ltd, London (2003).
Preamble
This is the fifty-nineth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed below all the posts in this new series:
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
Green Pigments - Part I
Green Pigments - Part II
Red Pigments - Part I
Red Pigments - Part II
Yellow Pigments - Part I
Yellow Pigments - Part II
Brown and Violet Pigments
Black Pigments
White Pigments - Part I
White Pigments - Part II
White Pigments - Part III
Inert Pigments
Permanence of Pigments: New Pigments - Part I
Permanence of Pigments: New Pigments - Part II
Limited or Restricted Palettes
Testing of Pigments - Part I
Testing of Pigments - Part II
Further Refinement of Pigments
Color and Light - Part I
Color and Light - Part II
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!
Introduction
This is the 800th published post on my blogspot. The first post that I published was "ArtCloth: Engaging New Visions. An International Exhibition." To view this post, click on the following link - ArtCloth: Engaging New Visions.
In 2010, I would not have envisaged that some sixteen years later I would still be publishing a weekly post. It has been a long journey, and I hope, a fruitful one for you as it has been for me. Many of these posts were sourced from numerous books, magazines as well based on my own artistic journey. I have always referenced my sources and so I want thank all those authors as well as the many invited editors and artists who have contributed to this journey of mine. Without them, my blog posts would not have been so varied, nor so interesting. Thanks to all the contributors!
Note: Milestones are meant to be surpassed. This is a powerful reminder that achievements are stepping stones rather than finishing lines. In both personal and professional growth, acknowledging a goal is crucial for motivation, but setting your sights on the next level of development prevents stagnation and drives continuous improvement. Thank you for being a witness to my journey of discovery in the subjects that are of interest to me, and which I have featured on this blogspot.
Color and Light - Part II [1]
Pigments vary in transparency in the direct ratio to their refractive indices, but all of them are transparent to some extent. If the proper medium is selected, laboratory tests can be made which will show that the most opaque colors, even flake white, appear transparent under certain conditions. The liquids used in such laboratory experiments are not suitable for paint medium purposes, but the effects produced clearly demonstrate that the hiding power or opacity in paint film can be lost through a change in conditions, which surround the pigment that has been used.
In an actual oil painting, this does not occur at once; but in galleries one may frequently find a picture in which, by reason of changes wrought by time, oxidation, etc., the refractive index of the oil film has changed, and a thin coat of paint originally sufficed to form an opaque film has become sufficiently transparent to allow an underpainting or drawing to show through. The effect is called pentimento.
Rembrandt | Flora, 1634.
Note: In this painting, pentimento appears since there is a notable presence or emergence of earlier images, forms, or strokes that have been changed and were painted over.
Though all opaque pigments have this property, the whites possess it to a greater degree than do the others; pentimento in old pictures usually appears where white or colors reduced with much white have been used. The fact that all dried films of oil paint tend to become more transparent with age is well established.
It will be seen from the foregoing that when light impinges upon an object it is either transmitted, reflected, or absorbed, depending on the nature of the object; in the case of most paints it performs all three of these actions, in varying degrees.
The practical lesson that oil and tempura painters of the present day have learned from this is that the ground and underpainting always have some effect on the final painting, even when not apparent, and that pictures must be built up carefully with this point in mind.
Correct procedure calls for keeping the ground and underpinning as white or pale as possible, superimposing darks over lights (so far as the nature of work allows), and, whenever possible, scraping down or removing any substantial thick or dark areas when these are to be overpainted or obliterated for the purposes of making corrections. If two pictures were identical except for the fact that one was painted upon a brilliant white background and one of a black background, the difference between them would be immediately apparent; any departure from a pure white ground or from strickly necessary underpainting will produce an effect which tends towards that of a black ground. It is especially important to use the whitest sort of ground and the pale underpinnings when glazes and veils are employed.
There are few activities other than the use of artists' paints where opaque and transparent color effects are manipulated and where their differences are significant.
There are many aspects of color and light, each of which is a study or field in itself, such as color harmony, color classification or notation, and color considered from aesthetic, psychological, or scientific viewpoints. These are important studies in their own right. The present account is simply an outline of phsical and optical considerations which are relevant to the technology of painting materials and methods.
The schematic below summarizes many the effects on how light interacts with materials that artists often employ.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
Dan Riley.
Close-up pattern of hooded garment that Dan Riley is wearing.
Dan Riley and Jeannine Han in New York City.
Dan Riley and Jeannine Han's outfit 1.
Dan Riley and Jeannine Han's outfit 2.
Dan Riley and Jeannine Han's outfit 3.
Fabric Swatch 1.
Fabric Swatch 2.
