Scarica questa foto di Lisa Fotios gratis da Pexels
Scarica questa foto di Nikita Kurmachev gratis da Pexels
Spesso si associano i mobili e complementi in legno naturale, soprattutto se frutto di fai da te, a stili d'arredamento rustici o country, ma sebbene questo binomio sia sempre efficace non è detto che il legno poco lavorato non vada bene anche altrove. A seconda dell'essenza e del tipo di progetto che si ha in mente, è possibile inserire anche un'abat jour fatta con dischi di legno anche in una stanza moderna, senza dover nemmeno rimuovere la corteccia. In un ambiente dalle forme essenziali e geometriche si può integrare una lampada da terra il cui fusto sia un unico ramo dritto, ma anche osando con lampadari ricavati da tronchi lavorati e ritorti non è detto che si faccia un azzardo. Date un'occhiata a queste idee!
Artist Alexi Zaitsev Ryazan, Russia, 1959
Somos tão espertos quanto você e vamos dizer-lhe como obter árvores jovens em Forager., guia para jogar como um profissional
2016 Topic 14: Colour Mixing Hi there, Ingrid here, sharing a few tips and tricks on colour mixing. Colour mixing can be a bit daunting, especially for beginners. There are many, many colour wheels, blog posts, books and other instructional material out there available for you to use, but until you actually give it a go and try it for yourself you will not get the hang of it. Practice makes perfect and in this case it is the only way you will learn once for all. There is a wonderful and very detailed blog post right here on the Paperartsy blog focused on the colour mixing written by Elizabeth Borer. Hat off to Elizabeth, she went into so much detail, there is no point me even going there again! I’m going to take a slightly different approach today and show you how it all works in practice and how you can create an abstract artwork with 5 of the wide range of Paperartsy Fresco Finish Chalk Paints. I prepared a canvas to show you how you can use these 5 colours in practice. Let’s start with the basic theory of colour mixing. We all love to say, ‘oh, I love the colours on your work’, but when you are referring to ‘colour’ there is more to it. For example, I love yellow. Do you know which yellow? There is more than one type of yellow. In fact, there are many. Let’s break it down a bit… There are a few aspects to consider when it comes to a COLOUR: HUE which is a name of a particular colour so when you I say I like yellow colour, I really mean yellow hue. VALUE which is a relative lightness or darkness of a colour. Imagine turning your photo into a black and white one. You will see anything from white and light grey to dark grey and black. The same applies to other hues. You can adjust value of any colour by adding white. CHROMA (also recognised as INTENSITY or SATURATION) is the purity of a colour which determines its brightness or dullness. You can adjust chroma of a colour by adding white (adjusting tint), adding gray (adjusting tone) or by adding black (adjusting shade). How many of you say ‘this is too bright, I need to tone it down’… well, what you really mean is you need to adjust chroma (tint, tone or shade of the colour). I don’t doubt that you have seen many colour wheels and it would be great for you to buy one. They are very handy. They are great if you are using true pigments also known as ‘artist paints’ where you can start with the three primaries, red, yellow and green and mix any colour you desire. But we’re not here to talk about those. So forget about the colour wheel for now, because PaperArtsy make it easy for you. They already mix and sell a huge variety of shades and tones of each colour that we really are spoilt for choice! You can find them all HERE. But what if… what if you don’t have any yet and don’t know which ones to buy first, but still wanted to use some in your artwork? I have a simple solution for you and today I want to show you how easy it is to mix your own neutral colours and various shades and tones by simply using 5 Paperarty paints. Three are very close to the three primaries, London Bus (red), Zesty Zing (yellow) and Blueberry (blue), and two are neutrals, Snowflake (white) and French Roast (grey). Here’s a basic graph of how our three equivalents to the primaries mix: You can see that each of the neutrals has a different warmth to it and this is achieved by adding more red. If you want your neutral to be earthier, add more green. If you want it cooler, simply add more blue. Easy! It is easy to adjust the value by adding white to any colour. I added Snowflake to London Bus, as shown below. Or to adjust chroma by adding a little bit of a French Roast to London Bus (we’re onto some recipe here. Now you learned the basics there is nothing stopping you. Just by mixing the three colours you already created all the colours you need for any artwork. Add more Snowflake to the neutrals you mixed up earlier and you can create skin tones. You can paint an entire landscape with rocks, mountains, grass, water, sky, flowers and anything that your imagination can produce just by following these basic rules or colour mixing. Is your colour too bright, add some French Roast. The trick is to add a tiny bit. Then more, if you need to. A little goes a long way. Is it now the right tone, but too dark? Add Snowflake to adjust value. If you keep practicing these basics you will be a pro in no time. Trick: always keep a little bit of the originally mixed colour before you add another to it. Take a little bit from it and place next to it, then mix your white or whatever else into it. Why you ask… if your new mix doesn’t work out you have the original one to use or to use as a reference when mixing more. You can also compare the two and decide what works better for your artwork. And so to my canvas: I collaged various papers, fibres, card, strings, sand and art stones, crackle pastes etc onto my canvas using a Mod Podge, white gesso and then covered everything in white gesso. I also used my favourite, Paperartsy Grunge Paste, and stamped into it whilst still wet using the gorgeous journaling stamps by Sara Naumann – Eclectica 03. I let everything to dry over night to ensure the gesso or anything else I used wouldn’t interfere with my paint. ESN03 I decided on a colour scheme and started with a basic wash. My base colour was Blueberry. By adding Snowflake, I adjusted the lightness of this colour. I applied the darker by the art stones and lighter towards the middle of the canvas which on its own created dimension. I also mixed London Bus, Zesty Zing and a small dash of Blueberry to create a brown colour. It was too warm and didn’t match my blue and grey background so I added more yellow to get an earthier look. It was too bright and needed to tone it down so I added French Roast and there it was. I was slightly diluting the colours as I went for an easy application. I needed another earthy, but slightly contrasting colour so I added a bit of French Roast to Zesty Zing and got a nice dull, almost grey yellow colour which was perfect as a source of light in my blue and grey artwork. It was a nice touch, but not too bright. I used a couple more stamps and Blueberry and French Roast paints to add some stamping. One of the stamps says ‘disappear here’ and I was totally getting hooked and enjoyed the play. Which is what it’s all about. It is fun to make discoveries and each time you mix up a colour it is a bit like that. A little discovery you get excited about. Once I was happy with the overall composition I highlighted everything with Snowflake. I dry-brushed it on which meant that only the raised areas were touched with the brush. I also added so white to the centre. It was at this point when I was fairly satisfied with the overall look, but it needed a contrasting colour to create focal points or shall I say, areas of interest. I mixed London Bus and Zesty Zing to create orange. You probably know that orange and blue are complementary colours. They complement each other meaning, they are creating an aesthetically pleasing colour contrast, they create a harmony. This is why we group them into Harmonious Colour Schemes. Monochromatic and Analogous colours also belong to this group. There are other key points to colour relationships, but I won’t go into this as this post would be very long. So now I had my lovely and bright orange it needed to be ‘toned down’. You guessed it, I added a tiny bit of French Roast. And then a bit more and did this until I had my perfect dull orange, almost a colour of a rust. I applied the first coat of this colour to the ridged areas of my canvas and lightly touched here and there, this time with a palette knife. By using the palette knife I was safe in knowing only the raised areas would be covered and I wouldn’t get paint where I didn’t want it. I then used this very dull orange colour and added a bit of Zesty Zing. I adjusted the brightness and saturation again! I applied with a palette knife over exactly the same areas. Then I repeated this step until I had a gradient from darker dull orange until a bright light orange. That was fun! Today my mission was to prove that YOU CAN use a few basic colours to create a vast variety of other colours, from bright to dull, from light to dark and from primaries (or in this case their equivalent or close enough to them) to neutrals… I have a few close ups of the finished canvas for you… I hope you find my post useful as well as encouraging to experiment with colour mixing. You never know what you might discover! ;) Stay creative! All the best, Ingrid xxx Blogs: Ingrid Kristina V Designs& Mixed Media World Socials: Twitter, Pinterest, Facebook, Instagram, Google+ Wow Ingrid, this is fabulous in its simplicity. We all know though that sometimes what appears minimal does in fact have a lot of work and layers involved, not to mention the careful thought and attention to colours and placement. Thankyou for all your hints and tips on mixing, this can be a confusing subject but you have shown how a stunning piece can be achieved with very few colours. We would love to see how you interpret this Colour Mixing topic by linking what you make to our 2016 Challenge #14: Colour Mixing, on this page HERE. All of our bloggers love to see your twist on their ideas, particularly if you were inspired directly by their post. All links go in the draw to win a £50 voucher to spend on products of your choice from the PaperArtsy online store. The Colour Mixing link will close 17:00 (London Time) Sunday, Aug 7th 2016. The winner will be announced 2 hours later at 19:00.
Inchiostro, colore, gofun e foglia d'oro su cartaScuola Kyoto Kano (Kyō-Kano)Firma: SansetsuSigillo: Jasokuken170 x 375 cm
Tiramisù con oro saiwa e panna, Tiramisù con biscotti secchi che tutti amano con piccole variazioni: una crema alla panna e mascarpone e biscotti petit!
Kaufen Sie Kunst von Daniela Prezioso Einwaller (Kostenloser Versand, Gesicherter Direktkauf): Malerei mit dem Titel "Pace"
Scarica questo Vettore premium su Fiocco d'oro e fiocco vettoriale con nastro per decorazioni natalizie e di compleanno e scopri più di 68 milioni di risorse grafiche professionali su Freepik. #freepik #vettore #nastroregalo #fioccooro #nastrooro
Meravigliosi mondi surreali eretti tra le chiome di busti di donna dall'artista cinese specializzata in opere scultoree Yuanxing Liang
Wilhelm Hansen scoured 20th-century Paris collecting Impressionist paintings – even buying one from his dentist. Now, these paintings are coming to the UK for the first time in Gauguin and the Impressionist…
- Grafische illustratie van een gouden zon achter twee vogels en zwarte bomen Grafische illustratie met twee zwarte vogels op een gouden cirkel (geen bladgoud), met zwarte bomen aan de onderkant. Deze opvallende poster is de perfecte keuze voor een trendy huis waar je details wilt toevoegen die opvallen. Als je al een interieur hebt met goudkleurige accenten is deze poster een perfecte aanvulling!
Siamo in pieno autunno, l'aria si rinfresca, ma i colori dei paesaggi intorno a noi accentuano le sfumature ca
Albero Susino Goccia d'Oro: Luminosa Dolcezza nel Tuo Giardino! Aggiungi un tocco di splendore dorato al tuo giardino con il nostro Albero Susino Goccia d'Oro. Celebre per i suoi frutti succosi e dalla dolcezza ineguagliabile, questo susino è una vera gemma tra gli alberi da frutto. Le sue prelibate gocce d'oro, dalla polpa morbida e aromaticamente dolce, sono un invito irresistibile per il tuo palato. Coltivato con cura per garantire la massima qualità e resa, l'Albero Susino Goccia d'Oro è un'aggiunta magnifica al tuo spazio verde. Sia che tu lo gusti fresco dal ramo o lo trasformi in deliziose marmellate e conserve, questo susino sarà sempre la stella del tuo giardino. Vivi l'esperienza della luminosa dolcezza con il nostro Albero Susino Goccia d'Oro - un vero tesoro da scoprire e apprezzare!
A bright and sunny golden yellow provides the backdrop for a stylised light-flooded forest created with a simple hatching technique. The different shapes of the trees stand for the diversity of nature and yet create a coherent overall picture. The bright, cheerful colours exude a summery atmosphere. Carrier material Non-woven wallpaper Surface Smooth Look Matt Suitability for bathrooms Suitable, protective coating useful Dimensions 0.52 m Width × 10.00 m Height Sales Unit Per roll Pattern repeat 0.52 m Straight match Grammage 154 g/m2 Design Stylised trees Basic colour Golden yellow Pattern colour White Characteristics Good lightfastness Low flammability Strippable Paste the wall Washable Theme Worlds Kitchen Living Room Hallway Dining Room Scandinavian Forest and Trees Design Wallpaper Vintage Wallpaper Mid-Century Modern #Stylised trees Sample A 1:1 depiction of the wallpaper as a sample which you can check or print out. Do you have any questions concerning this product? Item number: 690107 Show more
Come percorrere la valle prediletta da Mauro Corona: l'anello della valle Zemola è una meraviglia (non solo in autunno), e casera Galvana toglie il fiato.
2016 Topic 14: Colour Mixing Hi there, Ingrid here, sharing a few tips and tricks on colour mixing. Colour mixing can be a bit daunting, especially for beginners. There are many, many colour wheels, blog posts, books and other instructional material out there available for you to use, but until you actually give it a go and try it for yourself you will not get the hang of it. Practice makes perfect and in this case it is the only way you will learn once for all. There is a wonderful and very detailed blog post right here on the Paperartsy blog focused on the colour mixing written by Elizabeth Borer. Hat off to Elizabeth, she went into so much detail, there is no point me even going there again! I’m going to take a slightly different approach today and show you how it all works in practice and how you can create an abstract artwork with 5 of the wide range of Paperartsy Fresco Finish Chalk Paints. I prepared a canvas to show you how you can use these 5 colours in practice. Let’s start with the basic theory of colour mixing. We all love to say, ‘oh, I love the colours on your work’, but when you are referring to ‘colour’ there is more to it. For example, I love yellow. Do you know which yellow? There is more than one type of yellow. In fact, there are many. Let’s break it down a bit… There are a few aspects to consider when it comes to a COLOUR: HUE which is a name of a particular colour so when you I say I like yellow colour, I really mean yellow hue. VALUE which is a relative lightness or darkness of a colour. Imagine turning your photo into a black and white one. You will see anything from white and light grey to dark grey and black. The same applies to other hues. You can adjust value of any colour by adding white. CHROMA (also recognised as INTENSITY or SATURATION) is the purity of a colour which determines its brightness or dullness. You can adjust chroma of a colour by adding white (adjusting tint), adding gray (adjusting tone) or by adding black (adjusting shade). How many of you say ‘this is too bright, I need to tone it down’… well, what you really mean is you need to adjust chroma (tint, tone or shade of the colour). I don’t doubt that you have seen many colour wheels and it would be great for you to buy one. They are very handy. They are great if you are using true pigments also known as ‘artist paints’ where you can start with the three primaries, red, yellow and green and mix any colour you desire. But we’re not here to talk about those. So forget about the colour wheel for now, because PaperArtsy make it easy for you. They already mix and sell a huge variety of shades and tones of each colour that we really are spoilt for choice! You can find them all HERE. But what if… what if you don’t have any yet and don’t know which ones to buy first, but still wanted to use some in your artwork? I have a simple solution for you and today I want to show you how easy it is to mix your own neutral colours and various shades and tones by simply using 5 Paperarty paints. Three are very close to the three primaries, London Bus (red), Zesty Zing (yellow) and Blueberry (blue), and two are neutrals, Snowflake (white) and French Roast (grey). Here’s a basic graph of how our three equivalents to the primaries mix: You can see that each of the neutrals has a different warmth to it and this is achieved by adding more red. If you want your neutral to be earthier, add more green. If you want it cooler, simply add more blue. Easy! It is easy to adjust the value by adding white to any colour. I added Snowflake to London Bus, as shown below. Or to adjust chroma by adding a little bit of a French Roast to London Bus (we’re onto some recipe here. Now you learned the basics there is nothing stopping you. Just by mixing the three colours you already created all the colours you need for any artwork. Add more Snowflake to the neutrals you mixed up earlier and you can create skin tones. You can paint an entire landscape with rocks, mountains, grass, water, sky, flowers and anything that your imagination can produce just by following these basic rules or colour mixing. Is your colour too bright, add some French Roast. The trick is to add a tiny bit. Then more, if you need to. A little goes a long way. Is it now the right tone, but too dark? Add Snowflake to adjust value. If you keep practicing these basics you will be a pro in no time. Trick: always keep a little bit of the originally mixed colour before you add another to it. Take a little bit from it and place next to it, then mix your white or whatever else into it. Why you ask… if your new mix doesn’t work out you have the original one to use or to use as a reference when mixing more. You can also compare the two and decide what works better for your artwork. And so to my canvas: I collaged various papers, fibres, card, strings, sand and art stones, crackle pastes etc onto my canvas using a Mod Podge, white gesso and then covered everything in white gesso. I also used my favourite, Paperartsy Grunge Paste, and stamped into it whilst still wet using the gorgeous journaling stamps by Sara Naumann – Eclectica 03. I let everything to dry over night to ensure the gesso or anything else I used wouldn’t interfere with my paint. ESN03 I decided on a colour scheme and started with a basic wash. My base colour was Blueberry. By adding Snowflake, I adjusted the lightness of this colour. I applied the darker by the art stones and lighter towards the middle of the canvas which on its own created dimension. I also mixed London Bus, Zesty Zing and a small dash of Blueberry to create a brown colour. It was too warm and didn’t match my blue and grey background so I added more yellow to get an earthier look. It was too bright and needed to tone it down so I added French Roast and there it was. I was slightly diluting the colours as I went for an easy application. I needed another earthy, but slightly contrasting colour so I added a bit of French Roast to Zesty Zing and got a nice dull, almost grey yellow colour which was perfect as a source of light in my blue and grey artwork. It was a nice touch, but not too bright. I used a couple more stamps and Blueberry and French Roast paints to add some stamping. One of the stamps says ‘disappear here’ and I was totally getting hooked and enjoyed the play. Which is what it’s all about. It is fun to make discoveries and each time you mix up a colour it is a bit like that. A little discovery you get excited about. Once I was happy with the overall composition I highlighted everything with Snowflake. I dry-brushed it on which meant that only the raised areas were touched with the brush. I also added so white to the centre. It was at this point when I was fairly satisfied with the overall look, but it needed a contrasting colour to create focal points or shall I say, areas of interest. I mixed London Bus and Zesty Zing to create orange. You probably know that orange and blue are complementary colours. They complement each other meaning, they are creating an aesthetically pleasing colour contrast, they create a harmony. This is why we group them into Harmonious Colour Schemes. Monochromatic and Analogous colours also belong to this group. There are other key points to colour relationships, but I won’t go into this as this post would be very long. So now I had my lovely and bright orange it needed to be ‘toned down’. You guessed it, I added a tiny bit of French Roast. And then a bit more and did this until I had my perfect dull orange, almost a colour of a rust. I applied the first coat of this colour to the ridged areas of my canvas and lightly touched here and there, this time with a palette knife. By using the palette knife I was safe in knowing only the raised areas would be covered and I wouldn’t get paint where I didn’t want it. I then used this very dull orange colour and added a bit of Zesty Zing. I adjusted the brightness and saturation again! I applied with a palette knife over exactly the same areas. Then I repeated this step until I had a gradient from darker dull orange until a bright light orange. That was fun! Today my mission was to prove that YOU CAN use a few basic colours to create a vast variety of other colours, from bright to dull, from light to dark and from primaries (or in this case their equivalent or close enough to them) to neutrals… I have a few close ups of the finished canvas for you… I hope you find my post useful as well as encouraging to experiment with colour mixing. You never know what you might discover! ;) Stay creative! All the best, Ingrid xxx Blogs: Ingrid Kristina V Designs& Mixed Media World Socials: Twitter, Pinterest, Facebook, Instagram, Google+ Wow Ingrid, this is fabulous in its simplicity. We all know though that sometimes what appears minimal does in fact have a lot of work and layers involved, not to mention the careful thought and attention to colours and placement. Thankyou for all your hints and tips on mixing, this can be a confusing subject but you have shown how a stunning piece can be achieved with very few colours. We would love to see how you interpret this Colour Mixing topic by linking what you make to our 2016 Challenge #14: Colour Mixing, on this page HERE. All of our bloggers love to see your twist on their ideas, particularly if you were inspired directly by their post. All links go in the draw to win a £50 voucher to spend on products of your choice from the PaperArtsy online store. The Colour Mixing link will close 17:00 (London Time) Sunday, Aug 7th 2016. The winner will be announced 2 hours later at 19:00.
A collection of 10 Startling Tree Tunnels You Must Walk Through which will take your breath away with the way they look and feel.
Dove vedere il foliage in Puglia? La Puglia offre boschi rigogliosi che in autunno si svestono elegantemente del loro abito, regalando un paesaggio multicolore.
Le luci del mattino che attraversano le fronde degli alberi. Il suono silenzioso della natura. La collezione Five rispecchia l’esperienza della riconquista delle nostre radici e celebra il viaggio della bellezza effimera ed eterna. Alla ricerca di splendide realtà e allontanandosi dalla nozione urbana di gioielli, la collezione è interamente ispirata a questa atmosfera leggiadra.
