ABOUT THE ARTWORK This is one of the images from my 'Fabstract' collection which is a collection of digital paintings created by myself using traditional techniques, but on a computer. It is based on the concept of capturing an abstract expressionist mood or moment in time of the Yorkshire and Cumbrian landscapes. Throughout the series there is a sense of beauty and drama with an epic vastness, a calm tranquility and a kind of mystery. Leaving parts to the imagination of the viewer to ponder over, Fabstract is a truly curious collection of studies involved in the topographical subject of outdoor space, light and mood. Working closely with a member of the Fine Art Trade Guild, I will supply this as a limited edition 1 of 1 print - a Giclee print onto 315gsm archival canvas, using the best longevity inks. The final printed size (784 x 660mm) will include a 3 inch plain border all around the image so that it can be framed without any loss of image. The artwork will be packed very carefully - rolled and bubble-wrapped, inside large diameter toughened cardboard tubes, to ensure that it reaches you in excellent condition. Original Created: 2020 Subjects: Landscape Materials: Canvas Styles: Abstract, Impressionism, Modern Mediums: Digital DETAILS AND DIMENSIONS Digital: Digital on Canvas Original: One-of-a-kind Artwork Size: 20.1 W x 25 H x 0.1 D in Frame: Not Framed Ready to Hang: Not applicable Packaging: Ships Rolled in a Tube
An atmospheric painting of a man playing the piano amidst a snow-covered landscape. Perfect for music lovers and winter lovers.
In this blog post I am going to show you how you can create atmospheric perspective in a landscape painting as I show you how to paint this mountain valley scene.What is Atmospheric Perspective?Simply put, using atmospheric perspective is a way of creating the illusion of distance and depth in a landscape painting, for example making distant hills and mountains look like they are far away.
Haverstraw Bay Artist: Sanford Robinson GiffordDated: 1868Sanford Robinson Gifford (1823-1880) was an American landscape artist and part of the second generation of the Hudson school. He was especially interested in atmosphere and the portrayal of light.
A fire rainbow/stunning cloud iridescence! This is the mother of all atmospheric optical events! This beautiful cloud iridescence appears when... | storm, Colombia, Medellín, ice crystal
Beautiful 'Tangerine Tide' Poster Print by Katsu ✓ Printed on Metal ✓ Easy Magnet Mounting ✓ Worldwide Shipping. Buy online at DISPLATE.
Follow along step-by-step with watercolor celeb, Thomas Schaller, as he shows just how to create atmosphere in watercolor paintings of skies and water.
ABOUT THE ARTWORK This is one of the images from my 'Fabstract' collection which is a collection of digital paintings created by myself using traditional techniques, but on a computer. It is based on the concept of capturing an abstract expressionist mood or moment in time of the Yorkshire and Cumbrian landscapes. Throughout the series there is a sense of beauty and drama with an epic vastness, a calm tranquility and a kind of mystery. Leaving parts to the imagination of the viewer to ponder over, Fabstract is a truly curious collection of studies involved in the topographical subject of outdoor space, light and mood. Working closely with a member of the Fine Art Trade Guild, I will supply this painting as a limited edition 1 of 1 prints - a Giclee print onto 315gsm archival canvas, using the best longevity inks. The final printed size (784 x 660mm) will include a 3 inch plain border all around the image so that it can be framed without any loss of image. The artwork will be packed very carefully - rolled and bubble-wrapped, inside large diameter toughened cardboard tubes, to ensure that it reaches you in excellent condition. Original Created: 2019 Subjects: Landscape Materials: Canvas Styles: Abstract, Impressionism, Fine Art, Modern Mediums: Digital DETAILS AND DIMENSIONS Digital: Digital on Canvas Artist Produced Limited Edition of: 5 Size: 20.1 W x 25 H x 0.1 D in Frame: Not Framed Ready to Hang: Not applicable Packaging: Ships Rolled in a Tube
The ultimate curriculum platform for K-12 art teachers. FLEX gives art teachers access to a rich library of standards-aligned curriculum materials so they can save time and focus on teaching and student learning.
The Romantic works of Friedrich lend themselves to an interpretation of the landscape that can be divided into a value scale. In these two exercises Friedrich’s paintings were traced on traci…
Atmospheric perspective – also called aerial perspective – is certainly one of the most fundamental concepts in painting, especially landscape painting. Most of you are probably already […]
A stunning oil painting depicting three majestic poplar trees on the banks of a river. This impressive piece of art will decorate any wall in your home or office and create a relaxing atmosphere. Get this poster today and bring the beauty of nature into your rooms.
Wood engraving by unknown artist (possibly Flammarion), found in “L’atmosphère: météorologie populaire”, Camille Flammarion, 1888. ( ((Source) The caption that accompanies the eng…
In this simple project, we will be LAYERING gray washes to build up VALUES, from light to dark. We will also learn how to achieve ATMOSPHERIC PERSPECTIVE, through these value changes . . . Atmospheric perspective refers to the effect the atmosphere has on the appearance of objects (in this case, mountains), as they are viewed from a distance. This effect tends to make the mountains, or hills, take on a lighter and lighter value as their distance increases. With watercolor, we can achieve this effect by layering washes, in order to build up to the dark values gradually. Start out by drawing two rectangles (freehand) on your watercolor paper. The skinny rectangle down the right-hand side of the paper will become a value scale. . . Now mix a GRAY, using French Ultramarine and Burnt Sienna. I like to mix my grays instead of using a gray from a tube, because the result is much more interesting. Once you have the gray color you like, add enough water to it to make a very light version of it. Make sure you have enough to cover the entire big rectangle and most of the skinny one. With this light gray wash, paint all of the skinny rectangle, except for the top square. . . Before proceeding, make sure you have a tissue handy. No, I'm not going to make you cry . . . we're going to create clouds with it. Now, paint the entire big rectangle with this light wash. When painting a wash onto dry paper, it's helpful to have your paper/board at a slight tilt. While this is still wet, lay your board flat, take a piece of the tissue, and roll it across the top of the paper. . . you can do this more than once . . . Let this wash dry completely. Now, draw the furthest mountain ridge with pencil. Using the same wash mixture, first paint the value scale, starting with the 3rd box from the top -- all the way to the bottom. Next, paint this light gray wash from the pencil line (the mountain ridge) down -- to the bottom of the rectangle. Remember to have your board tilted, so that gravity helps you keep a "bead" at the bottom of your wash. Each time you pick up more paint on your brush and come back to the paper, you will only touch this bead of paint, while you work your way down to the bottom. Don't go back to what you've already painted. Let this layer dry completely. If necessary, you can use a hair dryer after each layer. At this point, you'll need to mix some more gray, using the same two colors. You can make this wash a little darker -- a medium value gray. With this mixture, paint the value scale, starting with the 4th box down, and paint all the way to the bottom. Then, draw another pencil line, depicting a closer mountain range. Paint this wash from the pencil line down to the bottom of the paper. Now, make your wash stronger by adding more pigment. Add another pencil line -- tree-lined hills. No details, just indicate by the edge that these are trees. Then, paint the bottom two squares of the value scale with this stronger wash, and then paint from the pencil line down to the bottom of the paper. If, after painting this, you feel that you haven't made the wash a dark enough value -- dry your paper with a hair dryer, and paint it again with the same wash. Add enough pigment to your wash to make your darkest dark -- almost black. Paint your last box black. Draw the top of a hill in the foreground, and paint it black. . . . and you're finished! You can see how we've succeeded, through the use of a full range of values -- from light to dark -- to get a sense of depth in our painting.
Artist Jakub Schikaneder February 27, 1855, Prague – November 15, 1924, Prague
