30.12.1973 Nace Nacho Vidal
Grandma with Rainbow Bow Clipart | Fun and Colorful Illustration 12 PNG | Perfect for Crafts and Digital Projects https://www.etsy.com/shop/Zenminak?ref=seller-platform-mcnav&search_query=old+lady https://www.etsy.com/shop/Zenminak?ref=seller-platform-mcnav&search_query=grandma This drawing is not a SVG and cannot be cut. This drawing (CLIPART - PNG) have a transparent background. This is a digital product. No physical item will be shipped. This listing is for a digital file(s) to be downloaded from your Etsy account page following purchase. You can print these images as many times as you need. Due to differences in monitor and printer calibrations, colors may appear different in print than on screen. The final print quality will depend on the type of printer and paper used. You may take your digital file to a printer for professional printing if desired. PRINTING You may print this file anywhere you choose - your home printer, a local or online photo developer, or a professional printing resource. ::::::What do you get?:::::: 12 PNG files, 300-dpi, high-resolution Size: 8" x 8" 300 dpi HOW TO DOWNLOAD ITEMS: If you're using an Etsy account. Go to PURCHASES AND REVIEWS in your Etsy account and download the files from my shop. This must be done with a browser device, as the Etsy Mobile App doesn't allow files to be downloaded. You only have to be logged into your Etsy account for saving the files. If you are checking out as a Guest, your download links will be automatically emailed to the email address you provide when purchasing. Be sure to check your spam folder if it doesn't show up in your Inbox. LICENCING Terms and Conditions: You MAY: *Allowed to use clipart and graphics for commercial purposes without purchasing an additional license *Use the visuals for any printed product *Use for any print-on-demand product *Use graphics in any digitally finished product of your own design that has undergone creative modification You MAY NOT: * Resell, distribute, or share these images in their original format * Make clip art, digital paper, or any other type of digital design resource * Give images away as any freebie or gift Please Note: This is a digital product, no physical item will be shipped to you. Downloads will be made available once your payment has been confirmed. These images were made with a combination of my own artwork and AI software.
12 CREATIVE SELF-PORTRAIT ART PROJECTS FOR KIDS
Nicolas Francescon, graphiste illustrateur
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A depiction of the Aztec god of war and the sun Huitzilopochtli. The god carries his typical atl-atl or spear-thrower, feathered arrows and shield and wears hummingbird feathers. (Codex Barbonicus).
(...) Offrons le globe aux enfants, Qu'une journée au moins le globe apprenne la camaraderie, Les enfants prendront de nos mains le globe Ils y planteront des arbres immortels. Nazim Hikmet 53 pays à colorier, didactiques et ludiques depuis 2009 :...
Bouquet of kisses wall art poster digital copy of poster Abstract Print- INSTANT DOWNLOAD Art - Abstract Pink Wall Art - Abstract Printable Wall Art - Room Posters - Colorful Printable Wall Art Please Note: - This listing is for an instant digital download, no physical prints will be mailed to you - These are my original illustrations and are for personal use only, commercial resale is not permitted - I'm happy to provide additional sizes/color edits for no extra charge * 3:4 Ratio for printing up to 18 x 24 inches Can be adjusted to print: Inches: 6x8 in, 9x12 in, 12x16 in, 15x20 in, 18x24 in Cm: 15x20 cm, 22x30 cm, 30x40 cm, 38x50 cm, 45x60 cm How it works: After purchasing this item at the checkout, you will be directed to a page where you can download your files. Simply download the files, save them to your computer and print them out at home or through a print or photo printing store. You can always access these files, at any time, by going to your Etsy Purchase page via: "You Account" -> "Purchases & Reviews" -> "Purchases" -> "Download Files" PLEASE NOTE: Instant Download sales are final, and thus it is not possible to refund your print.
Confluencing - Illos designed by Allegra Parlavecchio. Connect with them on Dribbble; the global community for designers and creative professionals.
Neville Brody is an English graphic designer, typographer, and art director. His work is today highly recognized worldwide.
Des dessins pour 90 coloriages et activités créatives paru chez Bordas. Il manque celui de Paris… Bientôt bientôt… On parlera de la tour Eiffel !
Some of my small space paintings went over the border from "astronomical" to abstract. This is one of them. I was trying out a spatter painting technique over the usual blue nebula, and I wanted to use another color than my usual reds and purples. So I added golden yellow to the picture and got this texture. Then I painted glitzy stars over it. So there's a little bit of Liberace (a famous costumer pianist showman of the 20th century) about this one. I named it "Golden Rain" after a garden tree with star-like yellow flowers. "Golden Rain" is acrylic on illustration board, 7" x 10", July 1992.
My little class (6-7 year olds) rocked this lesson (2017). I just adore these little bears and their wintery sweaters. And they are just in time for the onset of winter. 2022 Update: my new group (ages 6-9) just did this lesson and LOVED it! We explored various pen and line techniques for this project; hatching (face), cross-hatching (neck), scrubbing (ears), stippling (snout) and patterns (sweater). Teacher Sample 6-7 year olds 6-9 year olds - teacher sample top left The kids really grasped the concept of using small lines in a systematic, organized way in order to create darker and lighter tones, as well as indicting the direction of fur growth and the 3-D shape of the head. HEAD: I provided plenty of visuals of animal illustrations using pen and line for the kids to look at. The bears were drawn in a directed line drawing exercise, with me drawing and 'talking out loud' as I drew on the white board, and the kids following my step by step instructions. The teacher 'talking out loud' aspect sharpens their listening and observations skills, while reinforcing art vocabulary related to line and shape. Seeing me consider my drawing options, correct my mistakes, make measurements before drawing, and map out my composition reinforces the importance and usefulness of these important skills. BODY: After the bear heads were complete, we drew a simple upper body shape - more or less just a continuation of the head but slightly wider due to shoulder. (No sweater details yet!). FUR IN FACE: Students used little lines in black pen (fine-liner) using wider spacing for lighter toned areas and tighter spacing for darker tones areas. We considered the direction of fur growth, and used little lines in neat rows to mimic the growth patterns. Around the eyes, we used 3-4 concentric rows or tight lines; then used vertical rows for the rest of the face, spaced wider where there is less dark tone (forehead). The snout areas is left blank. The nose and eyes are colored black. See our inspiration samples below: illustration inspiration illustration inspiration Student progress after Day 1 SWEATER PATTERNS: After our face was complete, we decorated our sweaters. Students first drew several slightly curved horizontal lines across the body (to create a rounded looking body), and then filled each row with a different SIMPLE pattern. Pencil lines were outlined in thick permanent marker. **The rule was: half the patterns must be colored in black. The rest may be filled with your choice of 3-4 bright colors. This gives contrast to our more delicately detailed bear face, and adds that graphic feel. Below are a few pattern samples. Many of these are too complex though. Depending on age, the simpler the better (stripes, zig-zag dots, etc) COLORING: Students were encouraged to color each patterned row in a careful PATTERN of colors, rather than randomly coloring, for example: red, yellow, red, yellow, red, yellow. This helps to emphasize the pattern. BACKGROUND: Once complete, bears were cut out and students chose a subtly pattered deco paper to paste their bear on. These are fit for a children's book illustration! Below: 6-7 age group Below: 6-9 age group
By Jaleen Grove Cahén avoided rough work in order to preserve the spontaneity of the first attempt: "I do many sketches before starting a painting, but in my illustrations I rarely make such preliminary drawings. In fact, much to the dismay of art directors, my "roughs" are usually so sketchy that I can't make them out myself. What I do is to start my finished drawing with a hard pencil right on the board, then I ink in the final design and erase the pencil marks which made up the initial draft. Thus, by eliminating first roughs, I feel I am able to retain in the completed illustrations the full quality of the initial enthusiasm. As for media used, I mix my techniques as subject or purpose dictates…." It is interesting that of the very few sketches that are preserved, each shows a different style and medium. For “A Cage for the Birdman" Cahén coated his board with thick white paint, then drew over that with black ink. There is no white paint over the black... Maclean’s, 1954 ... to make white highlights Oscar literally carved away black ink in cross-contours to reveal the white beneath, shaping the forms as a sculptor would. "A Cage for the Birdman" also affords us an opportunity to examine Oscar Cahén’s formidable mastery of the art of spot colour printing. There are only four inks—cyan, magenta, yellow, and black—used to create secondary colours green, brown, purple, and orange. The fact that all four process colours were used indicates that Cahén could have submitted full colour art. Instead, he used flat spot colours to intentionally achieve a desired effect. The final illustration is not simply black and white art with some hues thrown in for fun—it is colour artwork, designed that way from the start and rendered using the ink and press as the “paint” and “brush.” Oscar Cahén developed his aesthetic repertoire through illustration in technical and iconographic ways, reflecting on the relationship between the verbal, the non-verbal, and the visual. He then switched hats and allowed that internalized knowledge to come out in a different way in abstract painting, as a member of the Toronto collective of abstract artists called Painters 11. Unlike for his illustrations, Cahén made rough drawings for his abstract paintings and reworked them over and over. Subjective Image Railroad Yard Expressing non-verbal feeling in the visual was always uppermost in Cahén’s intentions as an illustrator; abstraction simply stripped away the nameable, verbal layer to leave behind that lurking pure sense. Art theorist Meyer Schapiro has said that the New York abstract expressionists didn’t care about communicating with an audience. As an expert in visual communication, Cahén differed from them in that he knew quite well that even unfamiliar symbols were not devoid of meaning, and he asserted that his paintings were “a search for faith, and an escape from loneliness through communication.” New Liberty, 1949 We don’t know where this image appeared. If you do, contact The Cahén Archives. From oral histories and a few speeches that were luckily recorded, we know that Cahén had more influence on his peers in the graphic arts than almost any other Canadian illustrator up to at least 1960. In art director Stan Furnival’s estimation: "There isn’t any doubt that he was the greatest single force in Canadian illustration since Jefferys. He revitalized the whole business of illustration in Canada and encouraged a lot of good people to stay here and work here. He brought an academic art training to his illustrations—which, combined with a sense of freedom and vitality, radically changed a tight slick Americanized attitude almost overnight." We don’t know where this image appeared. If you do, contact The Cahén Archives. Original art for a Maclean’s cover Tom Hodgson, a Painters 11 member and friend of Oscar’s, wrote: "Oscar Cahén was the major impact in two areas, advertising and painting... Nothing even close to his impact has happened since... for many people, Oscar was their beginning." * The first exhibition of Oscar Cahén’s illustration since his lifetime will be shown in New York at Illustration House in October 2011 (opening night Oct. 1). With Roger Reed, I have written a full colour catalogue with an essay and over 60 images. In this series of posts about Cahén, I will introduce him and feature some artwork that will not appear in the show, catalogue, or websites. The tearsheets and originals here are from Oscar Cahén’s estate, courtesy of his son Michael Cahén at The Cahén Archives ~ Jaleen Grove
