This guy is craaazy. Apparently he learned his style by copying what he thought were pen and ink drawings. They turned out to be wood engravings. This is the result. A bit about him: Booth was born in Indiana and grew up on a farm in the middle of nowhere. Back then, major publications like Scribner’s and Harper’s relied on both illustrators and engravers to provide images; the illustrators’ drawings were engraved for printing. These illustrations were what Booth learned from. He eventually ended up working for the magazines he copied from. Check out his line work. It's pretty much all about line placement. If you zoom in on the images you can really see how he used different densities of lines rather than line weight or crosshatching to separate different elements. Personally, I really like the design of his clouds and trees. He's great if you like vertical compositions; it seems like most of his work was in that format. More in this book: Franklin Booth: American Illustrator. I haven't bought it yet but I plan on it.
This Engaging Surrealism project was a huge success with my middle school students! Engaging Surrealism Art Lesson for Middle School - Step-by-Step Guide! Experience the magic of Surrealism with this wildly successful art project tailored for middle school students! Ignite creativity and captivate young minds as they delve into the whimsical world of Surrealist art. Key Features: 29 Detailed Slides: Each slide expertly guides students through every step of the artistic process, ensuring a seamless and enjoyable experience. Interactive Lesson: Crafted to resonate with middle schoolers, this engaging lesson has been loved by students for its immersive and creative approach. Video Introduction to Surrealism: Bring the art movement to life with a captivating video introduction, providing context and inspiration for students. Optimal Pacing for 40-Minute Class Periods: Designed with real classroom scenarios in mind, follow the suggested pacing for effective integration into your 40-minute sessions. Active Closure Options: Wrap up each lesson dynamically with various active closure options, fostering a sense of accomplishment and understanding. Inspiring Finished Projects: Showcase example finished projects to spark inspiration and showcase the potential of Surrealist expressions. Bonus: For those seeking complete flexibility, reach out via email for a totally editable copy! Tailor the lesson to your unique teaching style and classroom dynamics. Transform your art classroom into a hub of creativity and exploration. Elevate your students' artistic journey – grab this Surrealism lesson from Howes in the Middle now!
Die Tintenfarbe entscheidet in Skizzen, Aquallen und beim Kolorieren über die Wirkung des Bildes. Pen and Ink die Möglichkeiten der farigen Stifte.
Many painters of the past were theologians who happened to use brush and pigment instead of pen and ink. Consider Transfiguration by Raphael. I was pointed to it by J. Monro Gibson, D.D. in his 188…
This guy is craaazy. Apparently he learned his style by copying what he thought were pen and ink drawings. They turned out to be wood engravings. This is the result. A bit about him: Booth was born in Indiana and grew up on a farm in the middle of nowhere. Back then, major publications like Scribner’s and Harper’s relied on both illustrators and engravers to provide images; the illustrators’ drawings were engraved for printing. These illustrations were what Booth learned from. He eventually ended up working for the magazines he copied from. Check out his line work. It's pretty much all about line placement. If you zoom in on the images you can really see how he used different densities of lines rather than line weight or crosshatching to separate different elements. Personally, I really like the design of his clouds and trees. He's great if you like vertical compositions; it seems like most of his work was in that format. More in this book: Franklin Booth: American Illustrator. I haven't bought it yet but I plan on it.
His erotic ink drawings, full of nudity and sex, influenced everyone from Klimt to Picasso. But, ahead of a Tate Britain show, we look at the pictures that were deemed just too outrageous. WARNING: explicit content
What would you and your kids write in your diaries with pen and ink? How about making your own DIY quill pen and ink and giving it a try?
Jlaus Folklore 2020 - Anne Boleyn This is a print of an original pen and ink drawing printed on high quality premium luster photo paper. Will be shipped in a protective cardboard mailer. Size Options: 8'' x 10'' 11'' x 14'' If you have any other questions, feel free to contact me! For more artwork like this one, visit my instagram page @jlauser.art!
Pen & ink
Introducing the Glasgow Skyline Art Print, a stunning tribute to the vibrant Scottish city's rich architectural heritage. A pen and ink drawing that captures some of Glasgow's most iconic buildings in their full glory, showcasing the city's unique skyline in a way that's both beautiful and timeless. Whether you're a proud Glaswegian or simply in love with this amazing city, this print is a fantastic way to celebrate Glasgow's rich history and culture. Featuring some of the most breathtaking and iconic landmarks in the city, it's a great reminder of the incredible buildings that make up Glasgow's ever-changing skyline.
Details are everything. This Lamy fountain pen has a beautiful palladium finish as well as a bi-color nib of 14 carat gold and platinum. This is truly a statement pen you’ll have for years to come. You may also notice the steel propeller-shaped clip, making this pen even more unique and special. Whether you use it for everyday writing or professional purposes, this quality pen will give you a smoother writing experience. Equipped with blue ink and an extra-fine nib.
A blog about art making and art education explorations in a humble art room for adults and kids of all ages.
Illustrations and draught work of Millais, Hunt, Rossetti, Burne-Jones and others in the Victorian movement.
Check out Adrienne523's artwork on Artsonia, the largest student art museum on the web. Don't forget to join the fan club and leave a comment on the website.
We borrowed this lesson idea from the awesome Italian art blog of Arteascuola. Check out the blog here. The make-your-own scratch art surface is such a cool way to work on value, complex pattern, focal points and unity (we plan on putting these vases together as a large scale group arrangement). The original lesson from Arteascuola is here.
Medieval Period: How To Make A Quill Pen. To create Medieval manuscripts, scribes had to learn first how to make a quill pen and that is what we are doing today. Also, you may like my post Medieval History for Homeschool. he Middle Ages.
Tattoo ink can be made using soot as the coloring agent. This method is commonly-used in prisons and other places where there isn't access to regular ink. Create ink by capturing the soot of a burning substance and mixing it with a few other ingredients.
Equipment: How to Choose a Waterproof Pen and Ink for Watercolour guiest blog looks at different waterproof pens for botanical illustration
Fun acid/base experiment for kids of all ages. Uses only common household ingredients. No heat required.
Tips and techniques for drawing flowers with a pen.
The origin of ink belongs to an era following the invention of writing and there is no definitive history of ink, ironic really, when it was the medium used to preserve the archives, and historic records that tell us much of our past: ink is...
In 1843 A. Voorhis erected a two-story, brick-faced livery stable at No. 51 Christopher Street. Four bays wide, it closely followed the accepted stable configuration with a large carriage bay flanked by a pedestrian doorway and a window. Three years later Mark Spencer, whose impressive home was nearby at the corner of West 4th Street and West 10th Street, built his private two-story stable next door at No. 53. By 1851 the proprietor of the Jefferson Stables was leasing both buildings. An advertisement in the New York Herald on October 21 that year offered "Horse For Sale--A gray horse, just from the country; is eight years old, fifteen hands high, and sold for want of use. Can be seen at Jefferson stables, No. 51 and 53 Christopher street, near Fourth." The arrangement did not last especially long. When S. A. Knopp advertised his "splendid pair of light cream colored horses, with silver manes and tails" for sale in 1856, the Jefferson Stable occupied only No. 51 Christopher Street. In November 1886 William Haxton, who owned several other properties in the neighborhood, purchased No. 51 from Alice Vose. His estate enlarged the building in 1898. Architect Jacob V. Myers filed plans for a new roof and "walls carried up." The renovations, costing about $38,200 in today's money, resulted in a three-story structure. William Haxton's 1898 renovations raised No. 51 to three full stories. from the collection of the New York Public Library William Haxton's daughter, Myrna, bought out her siblings' shares in the ownership of No. 51 in 1907. She had married publisher Henry Sleeper Harper, partner in Harper & Brothers, in 1889. She updated the stable that year, hiring architect Peter Roberts to install a skylight, new stalls, and change the ceilings. Meanwhile, the stable next door had been owned by Philetus H. Holt for years. Following his death in 1875 title was transferred to his son, Robert S. Holt. In 1906 he sold it to Maria Habermann. She retained ownership until July 1911 when she sold it to James J. Roddy, "who will make alterations," according to the Evening Telegram. It was the end of the line for No. 53 as a stable. On August 19 the Record & Guide reported that "James Roddy, general contractor, has moved his office from 9 East 8th st to 53 Christopher st." An even greater change came after Roddy sold the building to Anthony Barlet in 1913. On July 19 that year the Record & Guide announced he had leased it to to tenant "who will occupy is as a wholesale French bakery. Extensive alterations will be made to adapt it to the business." Signage for The Jefferson Livery Stable is evident in this 1928 photograph. The French Bakery Co. runs the operation next door. from the collection of the New York Public Library In 1930 the former Jefferson Livery Stables was reduced to two stories and joined internally with No. 53 by architect William Bayard Willis. The French Bakery now engulfed the ground floor of both structures. A single apartment was on the second floor. The main entrance was through No. 53 (left). photo via the NYC Dept of Records & Information Services By 1934 the bakery was replaced a restaurant, Bonnie's Stonewall Inn. Architect Harry Yarish gave the first floor a neo-Colonial brick facade with arched doorways and a shallow columned portico at No. 53. The upper floors were stuccoed. The "back room" in No. 51 was a popular spot for groups. On March 25, 1938, for instance, The Richmond Hill Record announced "Members of the Richmond Hill Council 1625, Royal Arcaneum, and their guests will dine and dance at 8:30 tomorrow night at the Stonewall Inn, 53 Christopher Street, Manhattan." Prohibition ended in 1933 and so New Year's Eve celebrations that year were eagerly anticipated. The New York Sun reported that the prix fixe cost at the Stonewall Inn would be $6.50 per person, or about $115 today. Everyday dining was much more affordable. In 1939 the Stonewall Inn advertised "lunch from 50 cents, dinner from 75 cents." The cost of the least expensive dinner would be about $13.70 today. The Stonewall Inn was a popular eating place for decades. On December 15, 1962 an advertisement touted: New Year's Eve Affair Benefit of the Weekly People Stonewall Inn 51 Christopher Street (In Greenwich Village) The Weekly People was a New York City-based weekly Socialist Labor Party newspaper. The evening was open to everyone, with tickets costing $4.50 for adults $3.00 for children. In 1966 the restaurant closed. Gangsters affiliated with the Genovese family converted the space to a gay bar. Among the renovations was the removal of the portico. Gay bars were illegal and for protection and privacy the owners painted the windows black and installed plywood inserts inside. The wooden doors were reinforced with steel doors on the inner side to slow down police. The club opened, keeping the name of the Stonewall Inn, in March 1967. The New York State Liquor Authority forbade the serving of alcohol to disorderly persons. Homosexuals were defined as disorderly and, therefore, it was illegal to serve admitted gays. Patrons suspected of being homosexual could be legally evicted or ordered to face forward at the bar to prevent them from making eye contact with other patrons. To circumvent the liquor law, the bar held a social club license. Presumably members brought their own liquor. The truth was that customers paid high prices for watered-down whiskey and black market beer. As was the case with Prohibition speakeasies, customers knocked on the door to be checked out through a tiny window by an attendant. If admitted, they paid a cover fee and signed in (normally using false names, of course). The main barroom was in No. 51. There was dancing (also against the law) both here and in "the backroom." Historians agree that it continued to operate because regular bribes were paid to the Sixth Precinct. Nevertheless, raids were made for appearance's sake, with advance notice given to the owners so that liquor and money could be removed beforehand. Each year in New York City around 500 persons were arrested "for the crime against nature," and 3,000 to 5,000 gays were arrested for loitering or solicitation. On Friday June 27, 1969 plainclothes police and detectives were sent to the Stonewall Inn to confiscate cases of liquor. According to Deputy Inspector Seymour Pines at the time, the bar was operating without a liquor license. The 200 patrons who were expelled from the bar saw it differently--it was police harassment. The Stonewall Inn in 1969. from the collection of the New York Public Library Whatever the case, within an hour the number grew to around 400 angry gay men who fought the police in what was the beginning of the Gay Rights Movement. Four policemen were injured and thirteen civilians arrested that night; however the raids and the protests continued for weeks. The Daily News described the protesters as having "all the fury of a gay atomic bomb." By the following evening the battered facade of the Stonewall Inn was graffiti-covered with messages reading "Support Gay Power," "Legalize Gay Bars and lick the Problem," and "GAY PROHIBITION CORRUPT$ COP$ FEED$ MAFIA." The Stonewall Inn limped along for four months before closing in October 1969. The sudden notoriety and the inability to obtain a liquor license were too much to overcome. The two buildings were again separated. The 1970's and early '80's saw Bagel And...in No. 51. The dingy interior of the old Stonewall Inn was gone. The New York Times food critic Mimi Sheraton described the shop on August 31, 1976, saying its wood paneling "has a high-quality finish...Wood columns with a sprayed effect, reflected in diamond-shaped mirrors, take on the effect of a never-ending abstract forest." The owners of Bagel And...widened the store entrance to match the one next door. The Stonewall (without the "Inn") reopened as a gay bar in No. 51 in 1987. It was not a success, however, and closed in October 1989, replaced by a men's clothing store. In the meantime No. 53 was home to Bowl & Board, and then to the Szechuan Cottage Restaurant around 1982. And then in 1993 the third Stonewall opened in No. 53. Renovations were made and for several years it enjoyed popularity, but closed in 2006. The space was renovated in January the following year for the Stonewall Inn, a gay bar which survives. On June 23, 2015 the buildings were designated a New York City landmark. In its designation report the Landmarks Preservation Commission noted "While the struggle to secure LGBT civil rights certainly did not begin at the Stonewall Inn, the legacy of Stonewall as the inspiration for the Gay Liberation Movement and Gay Pride events has been well established." photographs by the author
In this Pen and Ink Drawing Unit bundle you will get everything you need to teach weeks of pen and ink activities that will build mark making confidence in your Middle School or High School students. This lesson introduces line value techniques: hatching, cross hatching, stippling, scumbling and cross contour lines. It also includes several high quality pen and ink drawing examples from Art History, Contemporary Art and Student Work. This is the perfect start of the year lesson to build skills and confidence! Included in this bundle: Teacher Guide with links* to a materials list, Google Slides version of the presentation, editable version of the rubric (Google Doc), sample day by day lesson schedule, applicable National Core Art Standards (Middle School-High School, USA) and terms of use Pen and Ink Drawing Unit Powerpoint Slides- These slides guide you and your students through the basic techniques, vocabulary and skills needed for pen and ink drawing as well as introduce your students to examples from art history and contemporary art. Drawing with Music- a fun activity to get students started with using line with link to sample playlist on Spotify Making Marks Practice Handout- helps students develop mark making Line Value Techniques Notes- scaffolded notes that allow students to test out each technique (hatching, cross-hatching, stippling, scumbling, cross-contour) Line Value Scales Handout- students practice shading from light to dark with each technique Shading Practice- students use techniques to shade 3d forms (cubes) Composition Studies Handout- a place for students to plan out their final project composition PDF and editable Google Doc Project Assessment Rubric and as a BONUS get my Art Project Rubric and Self Assessment - an editable rubric that you can tailor to your needs *To open links in Powerpoint the slides must be Presented or right click the links and scroll down to HYPERLINK and then drag over the menu to "OPEN HYPERLINK" This lesson is included in the Intro to Art Lesson Bundle which includes 6 introductory level art lessons for Middle School or High School foundations art students. Please email me at [email protected] if you have any questions or concerns. Leave a review and earn credits toward your next TPT resource! Not sure what art supplies to order for your classroom? Check out my FREE Art Materials Guide To see this resource and others in action in my classroom follow me on instagram @artfulideasclassroom and join the Artful Ideas community over on the blog
Sankofa in Akan means 'go back and fetch it', an Adinkra symbol symbolic of Slavery, a very beloved symbol of African American history. This art piece shows a duck reaching behind into its past. This art piece is created using the doodling and zentangle technique. Medium is pen and ink and colored pencils. The art piece PRINT comes Frame matted. Original art piece measures 8" X 10" Ships frame matted measuring 11" X 14" inches. Coming from our hands to yours. RabeenaDesigns. Simply EyeCandy.Copyright RabeenaDesigns 2011. www.RabeenaDesigns.etsy.com
Made in the Japanese city of Kyoto, Kyo No Oto inks feature traditional Japanese colors inspired by the city's beautiful scenery and culture. This deep red ink is inspired by the color of adzuki beans, which have been used since ancient times for both culinary and ceremonial purposes. Specifications: Dye-based 40ml / 1.4oz Material: Glass (bottle) Dip pens, Fountain Pens Made in Japan Takeda Jimuki inks are made in small batches, so the color can vary slightly from one bottle to another. Takeda Jimuki inks are also known as TAG or Kyoto TAG inks.
Montblanc Masters of Art Homage To Gustav Klimt Limited Edition 4810 Rollerball 130226Great artists throughout history have expressed the human experience in a universal language of form and beauty. The Montblanc Masters of Art Collection honours their immortal contribution to the quest for perfection in art – a quest Montblanc both celebrates and participates in. One artist whose vision helped shape Viennese Art Nouveau and the Golden Age is Gustav Klimt. The Montblanc Masters of Art Homage to Gustav Klimt Limited Edition 4810 celebrates his artistic beginnings in the Vienna Secession and highlights elements from his masterpieces Pallas Athene and The Kiss in its design. In his rebellion against stereotypical concepts in art and society, Gustav Klimt was a pioneer of the avant-garde. He fused realistic representation, ornamentation and abstraction in a style that reached its culmination in his large-format, subtly sensual paintings of women. One of his frst paintings to place equal value on the ornament and the sitter was a portrait from 1902 of his partner and muse Emilie Flöge, depicted in a dreamy, almost mystical blue. This artwork provided the blue tone used in the Montblanc Masters of Art Homage to Gustav Klimt Limited Edition 4810. The circles, swirls, triangles and lines shimmering through the translucent, dark-blue lacquer of the writing instrument come from his famous painting The Kiss, in which two lovers seem to dissolve into ornamental, geometric forms through the power of emotion. Composed of translucent blue lacquer and yellow gold-coated hammered metal, the cap and barrel of the writing instrument make effective use of complementary colours in reference to the famous works of Gustav Klimt's Golden Phase, including Adele Bloch-Bauer I, the Stoclet Frieze and The Kiss. Klimt used a new technique to enrich his colours with individual sections of gold leaf, creating the impression of precious stones set in gold. In the Limited Edition 4810, the yellow gold-coated hammered cone is set with a synthetic green spinel, the colour evoking spring, the season of new beginnings. Klimt's Secession monogram, a gold-coloured tampon print of his initials, GK, refers to his achievements for the Vienna Secession. The clip of the Homage to Gustav Klimt Limited Edition 4810 is specially designed with reference to Gustav Klimt’s Pallas Athene. Since Athena is the goddess of both warfare and the arts, she is depicted launching the struggle for artistic freedom. The slightly curved lines ending in three spirals on the yellow gold-coated clip correspond to the decoration on the forged metal frame.
Pen and Ink drawing techniques — Hand out worksheet for students to learn the basics of pen and ink and then try their hand at drawing from observation of the photo. Great for introducing a new technique, brush up, sub plan, bell ringer, etc. I work these into whatever my current project is to have students purposeful in how they use their mediums. Includes 4 exercises: walnuts, artichoke, parrot and pinecone. *********************************************************************** Hope Creek Studios specializes in Art Studio and History, Photography and Graphic Design lessons and creative aids. Click here to see MORE STUDIO ART worksheets, lessons, & creative aids in our TPT store! FOLLOW ME to get FREEBIES to your email from Hope Creek Art Studios *********************************************************************** Let's Connect www.HopeCreekAcres.com Pinterest Facebook Instagram ********************************************************************** © 2024 Hope Creek Art Studios/Hope Creek Acres ® ALL RIGHTS RESERVED.
