Superior quality Print/Poster ready for framing • Printed on high quality 260gsm Satin Fine Art Papers • We use the latest 12 colour printing technology for vivid results • All prints are carefully rolled into secure cardboard tubes to help enable a damage free delivery • Artwork is printed edge to edge for a seamless finish • Arrives ready to be framed We welcome custom requests such as unique sizes to your own specification, alterations to the image for example, if you require a border, prefer the image to be Greyscale etc. Please send us a message before ordering so we can confirm any changes. Please note: We also offer many of our Prints available as a ready to hang gallery wrapped Canvas which is available in various sizes. Visit our Etsy shop and search by Artist name/ Title to view all options available. If you can't find what you are looking for then send us a message and we are more than happy to make your required image available for you.
Après le signe solaire, lunaire, l’ horoscope chinois ou encore la pierre de naissance , votre destinée dépendrait à son tour des fleurs. Mais pas n’importe lesquelles. Celles liées à votre mois de naissance. Encore un peu confidentielle, cette tradition tombée en désuétude est pourtant...
Qui n'aime pas les curry ?? Moi, j'adore et celui-ci au chou-fleur avec cette sauce crémeuse parfumée le rend encore plus meilleur !! Vous devez le faire :).
Italicus met à l'honneur tout le charme et l'histoire du terroir italien dans une liqueur fleurie et pleine de fraicheur.
Le studio Moga est spécialisé en identité visuelle et en stratégie de marque. Je vous accompagne dans la mise en place de votre communication visuelle.
Bring nature into your home with our "Wild Bouquet" wallpaper featuring delicate pastel floral patterns.
Je poursuis mes recettes printanières avec la fleur de ciboulette, à vrai dire, l'aromate a donné tellement de jolies fleurs cette année que je ne sais plus quoi en faire, si j'ai le choix entre : 1. les secouer pour donner d'autres pousses 2. les...
Pour varier un peu du traditionnel gratin de chou-fleur voici une recette toute « Simple » tirée du livre éponyme de Yotam Ottolenghi.
Pierre Bonnard, Work Table, 1926 - 1937, via A Long Time Alone The Art Story Pierre Bonnard via A Long Time Alone Pierre Bonnard Pierre Bonnard Pierre Bonnard, The Garden via A Long Time Alone Pierre Bonnard, The White Cat, 1894 Pierre Bonnard Pierre Bonnard Pierre Bonnard Pierre Bonnard via A Long Time Alone Pierre Bonnard, Bord de Mer aux toits Rouges, c. 1933 Pierre Bonnard, Carnations, c. 1921 via A Long Time Alone Pierre Bonnard, Child with Cat, 1906 Pierre Bonnard, In the Bathroom, c. 1940 Pierre Bonnard, Les Pivoines, c. 1930 Pierre Bonnard, Montmarte in the Rain Pierre Bonnard, Nude in Yellow, c. 1938 - 49 Pierre Bonnard, Pink Palm in Canet, 1924 via A Long Time Alone Pierre Bonnard, Summer, 1917 via A Long Time Alone Pierre Bonnard, Terasse a Vernon, 1923 Pierre Bonnard Pierre Bonnard Pierre Bonnard, Breakfast Pierre Bonnard, La Table Pierre Bonnard 1921 Works by Post-Impressionist Les Nabis painter and printmaker, Pierre Bonnard, (1867 - 1847)
Click on image to enlarge...lean back...imagine the art on YOUR wall* *Low Resolution Images are used online. Colors may vary according to your monitor settings. "Fleurs" Artist: Salvador Dali Fine Giclée Print This print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world. (Please be aware that some older images are naturally not of the same sharpness as one would expect from a modern image.) Paper Size: 11"x17" Or 13"x19" Untrimmed Archival Quality Suitable for Framing If you have special area of interest or subject matter that you do not see listed, please send an inquiry. I am pleased to search my inventory for you.
Dry point is the most direct form of intaglio. The artist simply takes a sharp point and uses it to scratch into the metal plate to create the image. There is quite a variety of tools that can be used for this. Here's a video of Wayne Thiebaud doing that at Crown Point Press. As you watch it pay attention to the different ways he marks the plate, from gentle to rough and in-between. He even seems to be scratching into it with a pocket knife at one point. Here's Thiebaud's print. Notice the sketchy look it has. Crown Point Press - Wayne Thiebaud - Diagonal Ridge - Drypoint Here's another print from another artist named Ingrid Ellison. Again, note the sketchy lines. Ingrid Ellision - 6"x6" copper plate etching As a preliminary assignment we will modify one of your plates from an old print with the drypoint tools. A plate being worked with a drypoint tool: Green Door Printmaking .co .uk - Drypoint on Copper Some of those lines look almost sharp. And they kind of are. The reason they catch the light like that is that as the drypoint tool is worked against the plate it creates a burr. This is just like plowing a furrow into a field. You get a groove with a tiny metal edge, a burr, sticking up along each side. When you ink the plate the ink will go into the groove but it will also go under those metal edges that follow the groove. This makes drypoint different from any other intaglio method. It looks a little different but it's also very fragile. Rough treatment will bend the bur around or even knock it off. So, you've got to be gentle when you ink and print it. For this assignment you will end up with three separate sets of prints. - An edition of three pulled from the old plate you modified. - A suite of state prints pulled as you develop the image. - An edition of five consistent prints. Before class: - Watch some intaglio/etching videos. Read. Take notes. Write down questions to ask in class. - Develop an image to print. - Have in your sketchbook: - A description of this process in your own words. - A copy of the process steps. In class: - Your matrix for this assignment will be a copper plate. - Develop your image by adding and removing with the drypoint tools. Create lines and texture using the scribe, the scraper, and / or the burnisher. Be very careful not to push the tools toward your hands. As you work you will find it necessary to use different techniques to achieve different effects. You will work the plate, print, work the plate, print, work the plate again, print again, and so on until you achieve the desired final image. Each print represents a state. Such a set of non-consistent prints is called a suite rather than an edition. Once you have the image in plate the way you want it create an edition of five consistent prints with one inch margins. For these prints, you will use only black ink. Don't underestimate how hard it will be to make a consistent edition of prints. It is hard. Inking and printing dry points has everything to do with developing an intuitive understanding which requires printing a small mountain of them. PRINTING STEPS: Remember to bevel the edges of your plate before you begin working it. Remember to degrease your plate with the whiting each time you apply a ground or etch it. If you think your plate is clean you probably need to degrease it two more times. SET UP: - Tear several sheets of newsprint and your good paper to the correct size. - Tear a couple large sheets of newsprint for protecting the press bed and blankets - Create your registration template on a sheet of newsprint. - Set up the press by loading it with your, registration template, protective newsprint, template, zinc plate, and blankets. - You should have three blankets, one thick felt blanket between two thinner wool blankets. Make sure the blankets are not hanging over the ends or sides of the press and that they will not get into the gears. - Test run everything through the press and adjust the pressure. - Make sure there are clean enough blotters laid out to dry your paper through your whole run. If the blotters are dirty they can transfer unwanted information onto your print. DO NOT GET INK ON THE BLOTTERS. - Put out enough ink to make your edition. It won't take much. Work the ink for about a minute to loosen it up. - Soak your paper in the large soaking sink in the center of the shop. - Initial your paper on the back so there will be no confusion about which paper is whose. - The water needs to be warm, not hot, not cold. - The paper needs to soak for about a minute. It won’t hurt to soak longer as you will be removing the excess water with blotters. PRINTING: - Apply a small amount of ink to your plate and work it in every direction with an inking card (A.K.A. a hunk of cardboard). Make sure it gets into all of your lines and textures but be careful not to damage the burr. - Scrape off as much of the extra ink as you can with your card and save it for reuse. - Use a phone book page to remove as excess ink until you can make out your image somewhat. - Use a tarlatan to continue wiping the plate. - When you think the tarlatan has done it's job make the last few wipes with the fat of your hand. At this point you're only grazing the surface of the plate to remove the ink from areas where you don't want it. Remember, you want to leave the ink in the burr. Just graze the plate, don't rub. Hand wiping to be the best way to finish wiping the plate because you can literally develop a feel for how the plate should be inked. - Your partner should take your paper from the sink and blot out the excess water with the blotters, register it and print it. CLEAN UP: - Take the blankets out of the press and leave them folded on top or hanging in the rack. - Recenter the press. - Clean up any ink you have left with vegetable oil and Simple Green. - Make sure you drained the soaking sink and didn't leave any paper in it. - Put any damp blotters in the drying rack. On critique day, you will have ten minutes to get ready before we begin. - Make sure you have identified your prints in pencil. Make your best print number one and the last one the print you are least satisfied with. - Hang number one from your edition of prints vertically centered at about sixty inches above the floor. Use a loop of tape on the back; do not put tape on the front of your print. This assignment will be scored based on three criteria. These criteria will be weighted and assessed as follows: 1. Concept: 5 Points. Interpretation and application of your own ideas to the assignment using expressive, emotive, and aesthetic elements. Ask yourself “What am I trying to say with this image?” “How can I visually convey my idea?” 2. Participation: 5 Points. Attendance, involvement with your group, putting in time in the shop, proper shop etiquette, participation in discussions and critiques. 3. Process: 10 Points. Display an understanding of the process, making an edition of consistent prints, registration, and general neatness of the work. - The complete assignment is an edition of prints and an artist's statement. Incomplete assignments will continue to loose points for lateness until everything is turned in. Additionally, the following will cost you a letter grade: - Fingerprints or smudges on your prints. - Failure to properly identify your prints. - Failure to turn in an artist's statement with your prints. - Prints hung after critique begins will be considered one day late.
✷ Fine art giclée square print available in 30 x 30cm (12 x 12") or 60 x 60cm (24 x 24") ✷ Printed with archival inks on heavyweight, sustainably sourced fine art paper. ✢ Printed to order, please allow up to 3 days for your order to ship. If your order includes other items, they will arrive separately ✢
.css-1sgivba{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-bottom:var(--chakra-space-2);} .css-cosgki{font-size:16px;font-weight:var(--chakra-fontWeights-bold);} Product Type: Giclee Print Print Size: 9" x 12" Finished Size: 9" x 12" .css-1336n79{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-top:var(--chakra-space-8);margin-bottom:var(--chakra-space-8);} Product ID: 56095643706A
(Note: information about my other writing can be found here.) La la! It's May, the lusty month of May! That darling month when ev'ryone throws self-control away! ~Camelot, the musical "So it befell in the month of May, Queen Guenever called unto her knights of the Table Round; and she gave them warning that early upon the morrow she would ride a-Maying into woods and fields beside Westminster." ~ Sir Thomas Malory, Le Morte d'Arthur I like to think that Guinevere, a lady I admire despite her often taxing behavior (I'd have let my knights sleep in), was singing Kalenda Maya during her diversions. A medieval ballad in honor of May Day, it was a smash hit in its time; an authentic-sounding (to me at least) version of it can be found here, and the lyrics with English translation are here (along with an automatic midi file that plays when the site loads, so be warned). Which leads me to some gently cautionary verse from a more complicated century: "How vainly men themselves amaze To win the palm, the oak, or bays ; And their uncessant labors see Crowned from some single herb or tree, Whose short and narrow-vergèd shade Does prudently their toils upbraid ; While all the flowers and trees do close To weave the garlands of repose." ~from The Garden, by Andrew Marvell (c. 1650) Marvell, whose last name wonderfully describes his poetry, was using botanical shorthand to indicate the honors men strive for, or once did: palm for saintly endeavors, oak for great deeds civic or martial, bays for artistic achievement. I've vainly amazed myself in pursuit of the latter all my writing life, and will continue in the quest no matter how quixotic--always remembering that I owe that adjective to Cervantes, who also wryly noted "I know well what the temptations of the devil are, and that one of the greatest is putting it into a man's head that he can write and print a book by which he will get as much fame as money, and as much money as fame" (Don Quixote, Book II). But if I had leisure to construct a garland of repose, it'd be made of irises and peonies just now, since they're growing in lush Spring profusion all around the house. Huge ruffly showy blooms they are, and would make a glorious Pre-Raphaelitish sort of crown, or fetching noggin-toppers like those sported by the brazen nymphs in the divinely preposterous Chevalier Aux Fleurs (1894). Click image for a big view. May the Muses guide and cherish their elect, CK
This photographic edition is truly one-of-a-kind, a piece you won't find adorning every wall. Captured by the brand's creator, who is also a passionate photographer, this photo is a tribute to lovers of the sea and sailing. Whether you're seated or standing, take a moment to contemplate. It extends an invitation to be present, to pause and reflect on oneself. Transporting you to distant shores, it encourages dreaming and escaping without physically moving. Perfect to treat yourself or as a thoughtful gift. Printed in France on fine art paper, each piece is part of a limited, signed edition (and numbered for larger formats). Sold without a frame. Contact us for framed options.
Pierre-Joseph Redouté, Hyacinth from Choix des plus belles fleurs, 1827. Via flickr
Beautiful colorful digitally tweaked and enhanced vintage print of vintage dandelion illustration for nursery, kitchen or any place in your house. Taraxacum officinale, the common dandelion (often simply called "dandelion"), is a flowering herbaceous perennial plant of the family Asteraceae (Compositae). It will be printed on printed on fancy fine art Mi-Tientes 160 gsm textured paper. centered and sized at 7,8" x 10" print sized at 8.2" x 11" It will last long and not fade. Natural beautiful vintage feel. Your purchase will be sent within 2-3 business days. It will be sent in the cardboard envelope as a standard mail. © Motley Design. All rights reserved. To see more prints go to: https://www.etsy.com/shop/MotleyArtDesign/
Original Design by Tracy Porter Made in the USA Each product is made-to-order. All Sales Final: No Returns, Exchanges or Refunds Premium giclée print on museum-quality archival fine art canvas using high-quality archival inks which capture every nuance and detail of the original piece with stunning clarity. A true representation of the artist's intended style and technique, often incorporating an implied definition or graininess to evoke a particular mood or aesthetic. Giclee Gallery-Wrapped Canvas Print 1½" deep Mirrored Image Wrap Includes hanging hardware attached and ready to hang Your work of art will ship in 3-10 business days, depending on a variety of factors.
Apprendre les grandeurs avec des jolies arc en ciel Si quelqu’un arrive a télécharger les autres fichier je suis preneuse :) Repositionnement de bâtonnet Reproduction de dessin
This large piece of reclaimed wood has great depth of colour, the background is a soft taupe. Over the top I have painted two cow parsley stems with fine flower head detail in acrylic paint. This piece with it's neutral colouring would fit any colour scheme. Note: All work is treated and braced if required, waxed, oiled with fittings ready to hang. All work is measured from the widest point. Please check weight of art work is suitable for chosen space. Product Weight: 3.2kgProduct Dimensions(cm): L65XW25XD3cm
Delicate voile fabric with a fine strié-effect.
Fine art 5 X 7 print of my original oil painting "Yellow Butterfly". This sweet yellow butterfly is perched on a Queen Ann's Lace amid a field of wild flowers including Black Eyed Susan. Printed on canvas using archival ink. Thanks for looking. Come back soon.
