Monday, November 21, 2016

Everything you need to know about backpack garden sprayers.

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Wednesday, October 26, 2016

Sydney festival to exhibit paintings by Myuran Sukumaran of Bali Nine

Sukumaran, one of a group known as the Bali Nine, took up painting during his time in Kerobokan prison and his artworks became a very public part of the campaign for clemency. He was killed by a firing squad in April 2015 alongside fellow Australian Andrew Chan, four Nigerians, a Brazilian and an Indonesian. All had been convicted of drug crimes.


The Australian artist Ben Quilty, Sukumaran’s friend and mentor and the co-curator of the exhibition, which will be held at Campbelltown arts centre in January, said he hoped the show would reignite public debate about human rights for prisoners.

“[Sukumaran] really deeply wanted the abolition of the death penalty worldwide,” Quilty said. “No one deserves to be shot in the chest ever, for anything. And he wanted that message spread as widely as he could.”

More than 100 of Sukumaran’s works will be shown at the western Sydney centre. The exhibition also features commissioned pieces by seven other Australian artists alongside Sukumaran’s work, including Matthew Sleeth, Abdul-Rahman Abdullah, Megan Cope, and Jagath Dheerasekara, who have all responded to the issues of the death penalty, justice and human rights.

During the exhibition period, the arts centre will also stage three symposiums focusing on human rights and capital punishment.


Sukumaran used art “as a visual language to communicate his humanity” during his time in incarceration, said Quilty, including instructing his lawyers on how to carry his paintings out of the prison to best display them to waiting press. “He was engineering his own message about the death penalty. He was humanising himself and his friends who were executed that night.” oil painting for sale

Quilty believes drug abuse, recidivism rates among offenders, and the retributive model of justice need to be debated in Australia and abroad.

“The uncomfortable truth is that a huge proportion of the population deals drugs, uses drugs, and quite often the dealer and the user are the same person.”

Quilty said that over the past decade Sukumaran had become “a beautiful, compassionate, caring 31-year-old man who looked out for his family, who worked really hard”.
“Taking away someone’s liberty is very different to taking away someone’s dignity, and if you destroy someone’s dignity then you can expect insanely high recidivism rates,” Quilty said. “It’s as simple as that. And we don’t seem to learn. We haven’t learnt from when we were locking people up in rough-hewn sandstone prisons on the shores of Sydney. And we still do it, we still treat people really badly when they’re in prison. We’re trying to punish them rather than rehabilitate them.”

Sukumaran was arrested in 2005 and was sentenced to death in 2006. “Myuran wasn’t the first and will not be the last to do something so self-indulgent and dangerous, and he went on to become a great young man and left an amazing legacy,” Quilty said.

Paul Nash review – pain, wonder and inescapable menace

With worlds under huge moons, Oxfordshire hilltops and Berkshire downs, autumn woods and mackerel skies, Paul Nash was almost a neoromantic painter of a small, domesticated island. Willows thrashing in a gale over a secluded pond; the empty coast at Dymchurch, with its groynes and coastal defences; marshes at Rye subjected to a severe geometry, where even the clouds are rhomboids. What odd, contrary paintings they are. art for sale

But geometry really worked for Nash in Winter Sea, with its fractured and folding planes, flattened under a night sky. Illuminated by an unseen moon, Winter Sea, to which Nash returned several times between 1925 and 37, is a deceptively simple painting of inescapable menace. For me, has a kind of absolute gravitas, like a hollowed-out future disappearing into the distance. It stops me dead.

Not everything Nash did was equally good. He was never what you could call a great painter. Yet we keep returning to him, because his art is full of mystery and strangeness, suffering and wonder. He saw fallen elms in a field as prowling monsters, bits of white flint as bleached human encounters. He could paint a withered plant in a pot, reflections of spherical lamps in a restaurant mirror, a meeting between a tree stump and a tennis ball on a clifftop and lend them all a peculiar significance. Sometimes the strain shows, as though surrealism wasn’t really what he was aiming for, even though, at the time of the International Surrealist Exhibition in London in 1936 he was dubbed England’s surrealist-in-chief. But something uncanny and unhomely persists.

This is the second Nash Tate retrospective since 2003 (the first was in Liverpool), but it covers much more ground. As well as tracing the development of Nash’s painting from the 1910s until his early death in 1947, it includes his previously undervalued photography, his assemblages (some made in conjunction with his sometime lover Eileen Agar), and an entire room devoted to Unit One, a loose affiliation of British artists, designers and architects who, in the 1930s, saw themselves as connected to a wider European modernism. In this room we also find a small, recently rediscovered and reassembled sculpture by Nash (found in pieces in a cardboard box), which was undoubtedly influenced by the surrealist work of Alberto Giacometti, especially the Swiss artist’s 1932 The Palace at 4am. Another of Nash’s lost sculptures, The Archer (only known as a photograph), also has clear echoes of Giacometti’s 1932 Flower in Danger and his 1928 Man and Woman.


Nash may have encountered Giacometti in dissident French surrealist Georges Bataille’s subversive magazine Documents. Unlikely though it seems, Documents appears to have been the model for Nash’s Shell Guide to Dorset (part of a series, sponsored by the petroleum company and aimed at the car-driving tourist, under the editorial control of poet John Betjeman). Nash has the Isle of Purbeck in Dorset alive with prehistoric lizards. What was really singular about him was a sense of the visionary and of things impending, as if an unseen world were about to reveal itself. oil paintings for sale

Nash’s experience during the first world war marked him physically and psychologically. A gas attack at Passchendaele in 1917 wrecked his lungs, and his experiences in the trenches left him with post-traumatic stress disorder. A sense of the immanent was already there in Nash’s sensibility, but the war gave it focus. The blasted trees of his 1918 We Are Making a New World and the spectral starburst in The Ypres Salient at Night, from the same year, have a terrible, almost mystical authority.

The exhibition labels keep reminding us of the influence of Italian metaphysical painter Giorgio de Chirico on Nash’s art. Nash’s still lives, set at the window of a flat overlooking London’s St Pancras station, show the influence, but not the spirit. But what some of the best of Nash’s work shares with De Chirico, prefiguring any influence, was a profound sense of emptiness. This was already there in Nash’s early watercolours of trees and gardens, and a distant vista, where a vision of the artist’s mother looms in the evening sky.

Here, the influence is more likely Samuel Palmer, and though it might be attractive to see some of his early watercolours and ink drawings as connected in some way to European symbolism, to Odilon Redon, their most likely progenitors were writers of supernatural fiction, such as Algernon Blackwood and MR James. But then we would have to ask what attracted Nash to those authors in the first place.

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Although one early painting shows two young women walking in an Edwardian shrubbery, people are largely absent from Nash’s work, apart from the frightening images he painted during the first world war, with soldiers silhouetted in the light of flares and explosions in the sky, and corpses strewn in the mud of no man’s land. Even here, Nash is as much concerned with blasted trees, shattered concrete, an upturned helmet floating in a flooded crater, or bits of twisted metal, as he is with the soldiers. Later, in the second world war, Nash painted a scrapyard of downed German fighters and bombers at the edge of Oxford. Totes Meer is a dead sea of metal under a cold moon. A short clip of film in the exhibition shows Nash, elegant in suit and hat, sketching among the mangled wreckage, which he also photographed.


I suspect that Nash, like JMW Turner, just wasn’t that great at painting people, but this provided an opportunity to find other ways to invoke their presence. The diving stage, with its levels and platforms, and other skeletal architectural structures that occur in Nash’s art in the 1920s and 30s, are mysterious signs of human activity. Just because you can’t see anyone doesn’t mean there’s no one there. painting from photo

Sunday, October 2, 2016

‘Let’s Work Together’

One of my most loved things is having a craftsman's gathering which meets routinely. While the vast majority of us invest a ton of energy alone making craftsmanship, almost everybody is a social animal as well. We actually advantage from being around others. It's additionally an extraordinary approach to help newcomers, and even old clocks will get new things, on the off chance that it's exactly how to utilize Pandora!



I am an individual from the Oil Painters of America, the Portrait Society of America, and other expert gatherings, and these are tremendous associations. It's so fabulous taking part in their occasions and rivalries. I am likewise in the Plein Air Painters of the South East (PAPSE), and these superb craftsmen meet for painting occasions a couple times each year. These are all such learning open doors!


Yet, my point here is that having a place with or beginning a gathering that meets week after week or something like that can be of colossal quality. In school, and soon after, I drew and painted at Detroit's Scarab Club a couple of evenings a week, and on some Saturdays. I can't express all I found out around an extensive variety of subjects while building up my aptitudes. I additionally kept on taking classes after graduation, and after that educate, which can be different approaches to do what I'm proposing, albeit typically for a more limited period. A standout amongst the most fundamental lessons is that MUCH OF LIFE IS JUST SHOWING UP! This can't be exaggerated.

How we got "a head"

In January 2015 we began the Wednesday Night Head Study session at our nearby expressions association; Tryon Painters And Sculptors. We live in a residential area, yet it as been simple and fun approaching people to sit for three hours while we paint or draw them. We are considering beginning a scene bunch. In the event that we had a bigger populace to draw on we would love to begin a figure session. On the off chance that something you might want doesn't exist close you, begin it up! At that point you have the additional advantage of choosing what the center is, the point at which it happens, to what extent, how much and so forth. Ideally you will soon have accomplices who can run the show when you can't be there.

Making Draw Down Cards

On the off chance that you have been painting for some time you may have an expansive accumulation of paints in numerous various hues or even various containers of the same shading from various makers! Draw down cards can help you analyze your paints and inform you an incredible arrangement regarding your hues. They are basically paint swatches from every container of paint you possess. They can even be valuable to help you rapidly locate the right shading for a surprising painting subject.



On the off chance that the shading's worth or tint looks changed when it is connected thickly or meagerly.

How sleek the shade is. Oily paint will leave an oil ring on the card and can give you intimations to how much color versus oil per tube the maker employments.


On the off chance that it obscures or yellows with age. You can contrast the dry example with new tube shading.

In the event that the paint sprouts, i.e. gets a waxy fog over the shading test, a sign the paint may have wax added to it.

How the same shading from various makers changes in tone and esteem.

To make your own cards, first sort your tubes by shading and keep the tubes with the same color together. For instance, all cadmium red examples ought to be connected beside each other for simplicity of examination on the cards.

Notwithstanding your paint tubes you will require the accompanying supplies: 14 x 17 inch cushion of smooth Bristol board sheets, a dainty dark Sharpie marker, palette or palette paper, paper towels and a 1.5 inch tool shop putty blade.

Utilize one sheet of Bristol board for every shading family: whites, reds and oranges, yellows, blues and purples, greens, tans and blacks.


To begin, press a little measure of paint onto your perfect palette. Utilizing the putty blade, scratch up the shading equally along the whole level end of the blade and apply to the Bristol board fit as a fiddle. For the top half apply the paint thickly and for the base half press hard as you draw down the putty blade. This demonstrates to you how hazy and straightforward every paint test is. At that point utilizing paper towels, deliberately clean the putty blade, including the edges and you are prepared for your next draw down square.

Recording the tube data isn't as much fun as applying hued swatches yet is vital. With a slender Sharpie pen take note of the brand, shading name, color shading numbers and sort of oil, if specified on the name. For the whites card likewise record the year you make the paint swatches so you can perceive how quick and the amount they yellow or obscure. The highest points of bookshelves are a decent place to stash draw down cards while they dry.

Four to seven days in the wake of including new hues check the cards to check whether they are dry. Any swatch that is still wet imprint "moderate dry." If some paint squares are still wet at ten to fifteen days mark them "moderate dry." Knowing which hues dry quick or moderate can be a major help when taking a shot at due dates! When you attempt another shading or brand you can keep adding to the cards.

While making draw down cards can take a touch of time in the first place, the shading swatches and the data you record are important. You will wind up alluding to them again and again as you work on your future compositions.

Learning never exhausts the mind…

This quote by Leonardo da Vinci may appear to be conflicting to any individual who has tried to take in the aptitudes fundamental for representational painting. Whether an understudy or prepared craftsman, the way toward learning will test your understanding to the point of madness. Indeed, even Sargent had his challenges, and issued forward a kind of call to war of "evil spirits, devils," with which he would dash at his canvas.


Tolerance is an essential component in figuring out how to paint. A standout amongst the most promising things I took in was from Richard Schmid. His conviction that composition is an art which requires hone however most importantly tolerance, truly set me free from negative considerations. Much like figuring out how to play the piano or turning into a champion competitor, it's vital not to point the finger at ourselves when our abilities don't exactly coordinate our dreams. Another coach was John Terelak, the considerable Cape Ann painter and teacher. By then in my excursion, I felt my work was sufficiently bad to impart to people in general and John ingrained in me the need to have confidence in myself. He clarified that learning is a long lasting interest, our work is regularly advancing and enhancing – your best exertion is all that is required.


I will always remember my first painting occasion, I was in route over my head yet felt I ought to test myself. Disregarding this, I must've seemed as though I had a place there as a kindred painter soon went along with me at my picked area. I was fortunate that she immediately perceived that I had no clue what the heck I was doing. With some accommodating tips I could endure the day and despite the fact that my canvas was unprofessional I was snared on painting outside.


After about 30 years at the easel, I keep on having snapshots of dissatisfaction and self uncertainty. It now and then feels as though the more I know, the less I understand I know… if you catch my drift. These snapshots of apprehension and uncertainty can prompt an inventive square. Once in a while we invest more energy increasing hypothetical learning and insufficient time really painting. Almost every craftsman I know has experienced this and the most ideal approach to defeat it is to push through and continue painting. At the point when our aptitudes get to be natural much like muscle memory, then our thoughts and the execution of those thoughts are integrated.


Creating tolerance requires having confidence that inevitably, you will arrive. Search out the backing and trade of thoughts of kindred painters, particularly the individuals who are on the same imaginative way, and gain from their errors and victories. Commend little triumphs and leaps forward when you're taking simultaneously, and permit those accomplishments to get you to the following level.

As of late, I felt the need to come back to a more scholastic way to deal with painting by going to the Academy of Realist Art in Boston. The Academy instructs conventional procedures, demonstrated on nineteenth century French institutes. The attention was on making the shading study which is a preparatory oil portray that decides specific hues and builds up, in the most simplified way, the worth range that will best accomplish a light impact and make volume. It gave me a more noteworthy comprehension of how to rearrange planes, legitimately form values and make shading agreement. The Academy ended up being precisely where I should have been so as to sharpen my draftsmanship and painting aptitudes. So never feel as if you've moved past a particular level, it's generally great to return to the basics.

Paint from life as regularly as you can and convey a sketchbook with you at all times. Changing controls from representation to scene, still life to painting the figure is additionally advantageous as each gives something other than what's expected to consider regarding plan, shape, esteem and shading.

I visit historical centers regularly and convey a representation book to "deconstruct" or make esteem investigations of masterworks. So much can be gained from this practice. I likewise go to craftsman exhibitions and visit the studios of painters I respect at whatever point a welcome is expanded.

"Develop an ever constant force of perception…

be constantly prepared to make slight notes of stances, gatherings and occurrences"

As to workshops, pick somebody who exemplifies your qualities and way to deal with painting. About 20 years back I concentrated on with a brilliant educator who felt that bringing workshops with prepared (or superstar craftsmen as he called them) resembled attempting to get a "best stuff". Despite the fact that this is consistent with some degree, watching an expert painter at work is an enormously valuable approach to learn. Simply be mindful so as not to be so affected as to trust that procedure or idiosyncrasy is the way to great painting. Trustworthiness is the genuine way to yourself and your own particular expressive voice.

The same number of you know I want to travel and just came back from educating a workshop in Italy. For me, there is no better approach to excite the faculties than through going by new places. Travel offers a differing qualities of scenes, engineering and individuals. It's generally an amazing and advancing background and a beyond any doubt approach to break free

It all starts with design

Way back in graduate school we were taught the importance of designing our drawings in such a way to influence the viewer’s eyesight so it traveled through the drawing and picked out the most important elements before moving on to the next drawing or piece of manuscript. At the time I was training to become a medical illustrator and our audience was surgeons who were studying how-to manuals for performing various surgical procedures. Our drawings were step-by-step instructions on how to do everything from an aortic valve replacement to brain surgery.












The attention span of our audience was very short but we were taught the reader was much more likely to remember a series of drawings showing a surgical procedure than mountains of text. Little did I know how important that training would become as I pursued my current artistic endeavors. What I learned is simple…it all starts with design. Mother Nature is a really good designer but sometimes she needs a little help when it comes to painting her likeness on a canvas.

IMG_2129aTo demonstrate what I mean I photographed a recent painting from start to end. By following me through the steps I hope you will come to understand that there is more to copying a landscape to canvas. You must engage the viewer and you do that with design, color and controlling the viewer’s gaze. As is my custom I will be painting from the field study I painted on a trip to Carmel a couple of summers ago.

On a 24″ x 30″ canvas I begin my design by dividing the canvas into thirds ending up with nine equal squares. My objective is to arrange the elements of the landscape in such a way that the viewer’s eye will be in constant motion and to do that I purposely place objects where the horizontal and vertical lines intersect.

At “A” the base of the rock lands exactly on the crossing lines. The angled line runs from “A” towards “B”. At “B” the vertically angled tree takes you up to the intersecting top third line. The shoreline runs from “B” to “C” where the base of the cliff lines up with the right side vertical line and also lines up with the right side of the main boulder back at “A”. The next drawing shows how the eye moves around the painting.

IMG_2129bThe plan is to have the viewer enter the painting at “A”, visually travel to “B” over to “C” then back down to “A” where the process starts over. If I pull this off the viewer will become engaged and visually travel through my entire painting.
You still with me?

Next I lay in a halftone drawing using a reddish wash to give myself a better look at the design before I commit to paint. I decide I need a “visual block” to keep the viewer from sliding off the right side of the canvas so I add a large dark boulder at the bottom right. I will add a dark element to the lower left of the painting to give it some balance. I’m thinking a dark bush of some sort.

I put in my darkest darks in the foreground and paint the main tree. Then using the foreground values as my guide I put in the distant cliffs. Using my plein air sketch as my value guide I continue to move around all parts of the canvas bringing the distant cliffs, middle ground trees and foreground rock formation all up at the same time.


Detail of the foreground rocks
This was a blast to paint. Most of it is made up as I go, changing colors and shapes of the rocks to give it an organic feel.
The finished painting, or so I thought
Once this was finished I put it in a closet for a month and did not look at it again until this morning. Once it was back on the easel I felt something was missing.
I decide it needed something else to draw the viewer away from the rock pile and up the hill to my center of interest. By adding a splash of color on the hill representing the poppies and other wild flowers that grow on the coast I believe the painting is now finished.