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Young and upcoming Australian artists have created imaginative and meaningful artworks that showcase their interpretation of the ‘spirit of giving’. The artists – primary school students from around the country – have the opportunity to win their school a share of $5,000 cash when the public go to www.kmart.com.au/wishingtree and vote for their favourite creation.

The artworks are part of the Kmart art of giving competition which invited students to draw, paint a picture or make a collage that represented the spirit of giving. The People’s Choice Awards category allows the public to vote online for their preferred pieces, and put schools in the running to win cash and help students win a host of great prizes.

The two students who receive the most online votes in their respective age categories (Prep – Year 4 and Year 5 – Year 7) will each win $2500 in prize money for their school and an 8GB iPod nano or Nintendo DS Lite for themselves. Voting for the People’s Choice Awards closes on 18 September 2009.

Over 2300 entries have been received with some schools submitting more than 180 entries. Of these, over 1000 pieces of the inspiring artworks have been posted online for the public to view and give their vote.

With an overwhelming response from Aussie schools, the competition’s first year has shown the amazing breadth of the positive message of giving and how the notion can be interpreted in many colourful and creative ways!

The national winner of the art of giving competition will see their artwork used in promotional material for the 2009 Kmart Wishing Tree Appeal. The Wishing Treeis Australia’s largest Christmas gift appeal. Thanks to the generosity of the Australian public, the Appeal has distributed more than 4.5 million gifts to people in need over the past 21 years. The 2009 Kmart Wishing Tree Appeal will launch on November 12.

www.kmart.com.au/wishingtree

Some people might say that art is dying. Art has changed completely over the course of time. It is a rare breed to find a portrait artist that can survive through classical art. Portrait painting is just not as popular as it once was which means that great portraits are hard to come by. Others would argue that art is just as popular, but it has been revolutionized. People have changed from making marble statues and sculptures to using computers to create art. Art can take many different forms. It is all just a matter of how you view it.

Technology has had a huge effect on art history. Certain things can only be as nice as the devices used to make them. Making a sculpture with outdated tools will make the piece look outdated. So in a world where many devices are so readily available, it is easier for those who do sculpt to change the classical look of their works. Another way in which technology has changed art is developing new forms. The best example of that is graphic design. Now in the modern world of computers, people can create images through different programs that are truly captivating. Some would argue that it is not really art because it really does not require physical ability. You do need to have that creative mind and eye to develop any type of art, whether it is by hand or computer.

Movies are a much debated form of art. Many movies can be classified as great works of art because of the amazing images that they can capture. The way that films can evoke such emotions makes them truly something special. If you or someone you know is skeptical of films as art, indie films or older movies could possibly change your mind. These are all about the true art of film making, not about making money like many of the major Hollywood movie companies. Sometimes you see how the whole public can appreciate the artistic nature of a movie. On special occasions an indie film will breakthrough and have popular success across the nation. These are the types of films that really reach the people.

One thing that is hard to argue is that we cannot let art die. It speaks to the culture of an era Art shows not only how the human mind thinks and works, but how the world has affected the people at that time. Art is full of feeling, whether it is the pain or happiness in a person’s heart. It is a way for future generations to get a feel of the people that had come before them. There would be something seriously wrong with humanity if we did not continue to make art.

Britain has a great number of artists in different fields but I’m going to focus on three of the most popular British artists. They are Beryl Cook, John Vettriano, and Doug Hyde.

The birth of Beryl Cook’s first child also marked the birth of her getting involved in the field of painting. Beryl Cook made painting her hobby and being a hobby, Beryl Cook didn’t invest in any expensive painting materials. Instead, she started out by painting using her son’s paints and brushes.

It was a friend and antiques dealer that became Beryl Cook’s first fan. Her artistry got the attention of the dealer, who asked her if she could try selling her paintings in her shop. Beryl Cook allowed it and they managed to sell the first 3 paintings very quickly. Feeling overwhelmed and inspired by the quick sales, she continued to produce her unique art.

Beryl Cook’s art is based on people watching. She has put on to canvass, the very things that people do everyday. Beryl Cook was very observant of the happenings around her. This is what catches the attention of her fans because her paintings have those chubby caricatures that are based on real life people, thus adding a personal nod to them. Some of her paintings, including Cruisin’, which portrays what the people are doing whilst on a cruise. Another piece called The Art Class shows the day to day life of art students studying. For an everyday life of a tennis player, Beryl Cook portrays the players shaking hands over the net, emphasizing challenges, winning and losing as a part of our daily lives.

An up and coming British artist is Doug Hyde. What differentiates Doug Hyde from Beryl Cook and Jack Vittriano is that he was able to tap his artistic side at a young age and focused on the ins and outs of painting so he could become a professional artist as he is today.

Doug Hyde’s paintings are literally made by hand because he uses his hands and fingers as if they were brushes. Using pastel, he paints according to how he is feeling and his emotions. This is Doug Hyde’s way of releasing emotion in to his artwork. Contemporary art aficionados love his style because of the personal touch of his work. An example of his works include Written in the Stars, in which a caricature owner and his pet dog look up at the sky, as if they are making a wish on their lives. Declare Your Love shows the emotion of a person that cannot contain his love and is fully offering it to someone. Emotions that blend in the colour tones of pastels became a sign of Doug Hyde’s art.

Just like Beryl Cook, Jack Vettriano, someone who tapped into his creative side at a later age. Thankfully he didn’t wait too long because he has become rather popular with his paintings and prints. Before he became an artist, Jack Vettriano quit school and worked in the mining industry.

Jack Vettriano prints present people who are dressed in elegant, sophisticated clothes and in most cases are members of the richer end of society. The Jack Vettriano print that is best known is The Singing Butler, in which a couple are dancing in the rain on a beach with their butler and maid. Another is the Yesterday’s Dreams painting, which shows a sophisticated lady that is looking out of a window. Turneresque showcases 3 couples that are dancing, a frequent theme in Jack Vettriano’s work just like romance, sensuality, and elegance which are often found in his paintings.

All these artists have different approaches when it comes to painting but it is their diversity that made them the favorites of the contemporary art scene and their contributions to art deserve to be acclaimed.

Are you like me? I love to doodle and thought I was an artist but the mere thought of taking an art class left me woosie thinking I would be laughed at. Guess what, most artists start in the same way but need to refine their skills by learning techniques that can only be learned in the classroom.

If you are like me and are intimidated, start by looking for some abstract classes on composition and design. This will give you a basic understanding of the importance of color, balance, space and creative fundamentals. The instructor usually facilitates the class by using many demonstrations of useful techniques to help all students at all levels.

Although art classes can be fun don’t forget about things like stained glass workshops which many beginners love to start with. If you truly are uncertain of your skills as an artist you may even want to do graphic designs through software. This can be so useful since you can learn to make letterheads, business cards and brochures.

Find out through your community college or town what courses are all being offered. Check to see about the credentials of your instructor by asking other students about classes. Find out how long the instructor has been teaching.

The biggest priority is to have fun and to let your creative juices flow. Art is an emotional feeling that can only come with an instructor who makes classes fun to allow the students to open up and be creative.

As a contemporary artist I only know too well that oil paintings always need varnishing. Firstly they need protection.

Once varnished the painting has a strong layer over the paint, so it is easier to handle as it can then be cleaned. If the painting is left unvarnished it may easily get damaged. As the painting dries out the oil paint tends to get duller and gives a matt finish. However, you cannot varnish until the paint is completely dry and this can take a considerable amount of time.

I think sometimes you would probably need to clean it first. Ordinary liquid detergent should be quite enough to do this. Using only a very small amount diluted with cold water to cover the surface of the picture, rubbing it very carefully with a soft soaked piece of rag. Then maybe do the same with clean water, so there is no residue of the detergent used. It then has to be left to dry thoroughly in a warm atmosphere.

Personally I would state that it is better to do your varnishing somewhere that has a good dry atmosphere with warmth. If the atmosphere is moist, the varnish often could appear to go into patches of white, which I personally find infuriating.

Now it is possible to get good spray varnishes which dry fairly quickly. A contemporary painter would probably prefer to apply varnish with a brush. Probably a fairly wide, soft brush is best. Normally it is better if the varnish, brush and painting have been near heat so there is no damp. Make sure you lay the painting on a flat surface. I pour some varnish into an old tin lid and then very carefully and gently brush on.

It is tempting to go backwards and forwards and overbrush – not so good – as the varnish tends to create bubbles. Easier if you have a small painting, because you can go straight across from one side to the other. You have to endeavour to get as even and as thin a coat as you can. Tendency is to overvarnish, giving a thick layer and an annoying glossy finish.

If your painting is large it is somewhat easier to divide it into square sections and work laboriously on one section at a time. Once you have applied the varnish do try not to disturb it.

Then you need to find a place to put the picture where, while you are working on it, you can see where the light shows on the varnish. This way it will enable you to see any places that you may have inadvertently missed.

Your picture then needs to be in a hopefully dust free area if possible, with the face side up.
Then you may find that you need to retouch your varnish. Obviously for this you need a thinned down varnish, especially where you may have what appears to be dull parts. Just be careful not to use too much, but it is quite alright to use it on top of half dry paint.

It is fairly usual to think the painting looks dull as it is drying – this is often the result of overpainting layers.

This article was written by Anna Meenaghan of http://annameenaghanart.com

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A interesting thing about drawing the side view view is that novices find it much simpler than the other poses. Yet, the advanced draftsperson can find the side view quite taxing.

For the advanced draftsperson the challenge lies in the struggle to affect a 3-dimensional sculptured look.

Looking at the construct in the profile view note how the head is broken down into straight lines. Using these architectonic lines expresses a firmness of form.

At first, you should keep the forms plain. Also at this point, do not draw all the profiled features. There are 2 reasons for this:

1. It is very likely that even the most skilfull draftsperson will be off, and

2. Once a line is drawn the language center of your brain will consider that relationship as proper one. Therefore, it will look proper to you but everyone else will see the error.

There is a better way. You start with drawing the construct using architectonically straight lines. The primary worries are putting in place the general proportions and form correctly. At a more advanced level you should also consider rhythm and movement.

Instead of right away including the nose into the construct you should utilize the facial angle, i.e., the line from the forehead to the chin that breaks at the bottom of the nose. The landmark reference for the bottom of the nose is the tiny ledge-like protrusion.

A plumb-bob is an excellent tool for rightly placing the bottom of the nose. A plumb-bob is a length of thread (preferably black carpet thread) that has a weight attached to it. The plumb-bob is used to verify vertical alignments (when working with life models) and their relations to that vertical line. The vertical line is referred to as the plumb-line.

Aligning the plumb-line to the chin allows you more correctly to see the relationship of brow to chin. The brow is set back from the chin. Note that the entire region of chin and mouth is referred to as the “muzzle”.

Having confirmed that the initial construct and facial angle are accurate you can now continue with establishing the facial proportions, primary anatomical landmarks, and the hair-line. So, at this point do not even think about drawing the entire nose. Drawing the nose at this point is a sure prescription for disaster. The angle of the nose and the construction of the tip require a high degree of precision.

Instead, begin to sketch the general light/dark pattern.
The lights are painted out using a kneaded eraser. The effect we are looking for is that of a ghost image. That means, above all, not to add details. Also, work from the general to the specific.

Once the general light/dark pattern is developed then the profiled features can be tackled. utilizing a very sharp pencil you can work upwards from the chin to the forehead carefully observing the form. As you sketch mumble the anatomical terms of each feature that you construct. You would be surprised at how that clarifyies the sketching process. Having an understanding of the facial anatomy will set your portrait sketching miles ahead of those who do not.

The tip of the nose, particularly, requires anatomical reconstruction to get it right.

A common error novices make with the profile view is placing the eye too far forward. The eye sockets are recessed quite significantly into the head. If you drop a plumb-line from the inside corner of the eye you will observe that the eye aligns itself with the node of the mouth.

Further rendering and hatching values are accomplished with 2H and 4H pencils. Choosing how far you want to take your sketch is an visual decision you have to make yourself. If you wish, you can leave the portrait somewhat unfinished.

In conclusion, sketching the profile view involves the same general principles relevant to any view. In this situation, the construct is particularly major. The major thing to recall is not to place the actual entire features of the head too early in the process.

Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing course here: pencil portrait course.

Remi Engels is a pencil portrait artist and oil painter and expert sketching teacher. See his work at graphite pencil portraits by Remi.

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A smile is the result of happiness. It lifts and broadens the lower face and the raised cheeks will often crease the flesh just below the eyes resulting in the so-called “crow’s feet”.

To grasp the makings of a smile in its numerous manifestations we must first grasp the underlying anatomy.

Below we list the three important muscles that contribute to a smile:

* The Zygomaticus Major – is the major “muscle of happiness”. This elongated muscle starts at the front area of the Zygomatic Arch (cheek bone) and inserts into the corner.

When the zygomaticus major contracts it bulges and lifts the cheek while further extending the Nasolabial Furrow or smile-line.

* The Malaris – lies on top of the zygomaticus major and is a long, ribbon-like deep-seated muscle. It starts at the temple and inserts into and forms the lower part of the nasolabial furrow.

The malaris is the cheek muscle. It draws up the cheek in an outward and backwards direction making it swell and giving it the puffed cheek look.

* The Buccinator – quadrilateral muscle forms the “cheek pad”. It starts on the rear, inside of the jaw and inserts into the “corners” of the mouth.

When smiling the buccinator contracts thus heaving at the corners and broaden the mouth.

As the mouth is broadened and pulled by both the zygomaticus major and buccinator the lips are extended and flattened. So is the chin. The philtrum is shortened and the nostrils flare somewhat.

Below are still other minor muscles that contribute to the smile:

1. The Risorius – is a curious muscle because not everyone has one. Some people only have a risorius on one side of their face. Others have a large, expansive triangular shaped one.

The Risorius starts in the tissue of the Masseter (whose action is used largely for chewing) and inserts into the corner of the mouth.

The risorius subtly pulls the corner backwards and up. Its effect is generally noticed in gentle smiles.

2. Incisivus Labii Superioris and Inferioris Superioris – The superioris does the lifting. These thing, band-like muscles start just above the incisor tooth area and also insert into the corner.

When fully contracted, a puckering up of the lips (a kiss) is produced.

3. The Levator Labii Superioris is a thin, quadrilateral muscle whose effect on the smile is somewhat restricted.

But, the upper part of this muscle contributes to the volume of the cheek and the nasolabial furrow.

Over the three important muscles goes the most complex of all the facial muscles, the Orbicularis Oris which operates throughout a large range of movements and expressions.

During a smile the lower eyelids are also pressed upwards. This is a consequence of a secondary action where the Orbicularis Oculi (the muscle of the eye socket) contracts.

The nasolabial furrow is deepened as it is simultaneously pulled and pressed upwards and outward. It is best to understate the sharp fold of the nasolabial furrow otherwise the smile will degenerate into a grimace.

As the corner of the mouth is pulled out and upwards the flesh is gathered into subtle vertical ridges.

The interstice of the mouth curves upwards, stretching and flattening the lips while shortening the philtrum. The nostrils of the nose also broaden as they are pulled outwards.

The upper portion of the nasolabial furrow is created by a slender, 3-part muscle named the Levator Labii Superioris Alaeque Nasi. This is the muscle that creates wrinkles in the nose during sniffing.

The parts of this muscle are the furrow portion which inserts into the top part of the nasolabial furrow; the alar portion which inserts under and behind the wing of the nose (Alae Nasi); and the lip portion which inserts continuously into the ridge just above the top lip and to the philtrum.

When sketching the nasolabial furrow be careful not to over-do it. A subtle suggestion is all that is needed. Otherwise your lovely smile will quickly degenerate into a sneer.

With this we have detailed and discussed the most important muscles that are involved in the smile. This should put you on the right path for comprehending the anatomy of the smile.

Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing course here: portrait drawing tutorial.

Remi Engels is a pencil portrait artist and oil painter and practiced sketching teacher. See his work at pencil portrait.

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In this commentary we presuppose that you draw directly from life or from a proper paper picture. In other words, we presuppose that you do not use the so-called grid technique. This technique relies on a grid sketched both on the paper picture of your model as well as your sketching paper.

If this is so, the first thing you will do is to create a line-drawing. And the very first part of your line-drawing will consist of sketching the so-called arabesque.

In pencil portrait sketching, the arabesque is defined as the entire positive shape of your model’s head. In other words the arabesque is the outer contour of the head.

The arabesque includes the proportions, the shape, and the symmetry of the head. This means that the arabesque communicates pretty much an overall likeness of your model and often lots of emotional content.

In trying to realize the arabesque we confront our first test as an artist. That is, the test of “seeing the reality”. Indeed, when we observe an object a complex mental process is initiated which in part falls short of the degree of accuracy necessary to create an acceptable portrait.

The mind, for good reasons (one is to sustain our sanity), instantly replace the very complex subject with the a symbol it has stored since childhood. For example, we all know how a child sketches a house. It really is more like a symbol of a house. But this is what the mind tends to bring up and often even grown-ups draw a house like they did as a child.

Plainly, it is these symbolic preconceptions (a left brain occurrence) that are the enemy of the artist. You must coach yourself to ignore those icons and really see what the reality of, for example, a house is.

In general, learning to draw involves the reprogramming of the mind’s eye. To this end, there is a skill-set that has been developed over the ages since the Renaissance.

Applying this new found skill to the arabesque is particularly essential. “Striking” the arabesque is probably the most essential element in the creation of a good likeness. Once you have this skill down path all the rest will follow fairly easily.

The first step in striking a proper arabesque is to force your eyes slightly out-of-focus. This situation is called seeing with a “soft eye”. With a soft eye proportions and shape are more easily seen. It also helps you to avoid the invocation of the iconic preconceptions we talked about.

To coach your eye to better your powers of observation you must always draw first and check second. There is not much to gain from pre-measuring. The habit of pre-measuring of the height and width of your model’s head will hold you back later.

When striking the original arabesque at all times use short straight, i.e., architectonic lines. This will impart a sense of the head’s structure and the shape of the underlying tissues and bones. Note that round or curving lines are iconic preconceptions.

Also pay attention to the symmetry of the head. The term “symmetry” in the context of sketching and painting does not so much refer to the similarity of two parts but more to the attractiveness that results from proper proportioning and rhythm.

After striking the arabesque (without doing any sizing) you can check the proportions. Take a measure of the largest width (i.e., the width of the arabesque along the brow line) and set it off vertically beginning at the bottom of the chin. The end point of the width typically ends up somewhere close to the middle of the hair.

The goal is to establish exactly where that end point is at. Best is to judge the shorter of the following two distances: (1) the vertical length from the brow line up to the end point of the measure; (2) the vertical length from the end point of the measure up to the arabesque. The shortest length is likely to be the most correct. Do not forget, the arabesque includes the entirety of the head including the hair.

With practice your eyes will develop this critical skill. Then, once the proportion and shape of the arabesque have been found you are prepared to proceed with locating the so-called landmarks.

Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing tutorial here: pencil portrait course.

Remi Engels is a pencil portrait artist and oil painter and skilled drawing teacher. See his work at pencil portraits by Remi.

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Despite never really promoting herself as an artist or actively trying to sell paintings, Beryl still managed to become a very popular artist. This was mainly thanks to prints and postcards of her work that were both affordable and accessible to the people that bought them. It wasn’t until her later life that she became an internationally recognised artist that is loved across the globe.

Beryl Cook is considered to be one of the UK’s most loved artists, producing work that didn’t alienate anyone. She simply painted everyday images of people that she would see around her. Her artwork ranges from women getting on the bus for a night out to the dustbin men coming to pick up the rubbish in the morning. She was an everyday person; this could be seen in her art and is why she is loved so much by people in the UK.

Beryl’s first love was a man called John Cook who lived across the road from her house in Surrey and they started seeing each other when they were 15 years old. John was signed up in order to serve his country during the war as a member of the Merchant Navy. They kept in touch while he was away and then in 1948 they got married but it was not until Beryl’s son John was born that she discovered her talent. In 1950 their son John was born and soon after the new family moved to what is now Zimbabwe. Over the 9 years that they lived in Zimbabwe, Beryl would use her young child’s paint set to paint the odd picture to pass the time.

When they returned to England John took a job in the motor trade in Bodmin, Devon and they befriended a local antiques dealer. The antiques dealer noticed Beryl’s artwork and asked if she’d be interested in selling some in her shop. All 3 paintings sold quickly and this inspired Beryl to start painting more often and sell her paintings through her friends shop.

Beryl Cook passed away before the summer of 2008. Her husband was shocked by the amount of coverage this event received in the media and the national and global out pour of support and sadness for their family. National newspapers from all over the world reported her death and her husband John has kept a scrap book containing the obituaries. Beryl Cook Prints have since seen an increase in sales and the recent retrospective of her work being held at Plymouth University has received joyful praise as the best way to say goodbye to a much loved artist.

10 Pencil Drawing Tips to Improve Your Compositions

Simply put, composition refers to an ordered relationship among the parts or elements of your drawing. Note that the position of shapes is not the only element of composition. Other elements include: value, intensity, and color.

1. Basic Unit – When composing a drawing it is always helpful to choose a “basic unit”. A basic unit is a line segment of medium size with respect to the composition you are trying to realize. You can use this basic unit to estimate all other sizes.

2. Focal Point – Rule of Thirds. Your drawing should always have a focal point, i.e., a point that attracts the viewer’s attention. The rest of your composition should serve to lead the viewer’s eye back to the focal point.

The rule of thirds is one of the easiest aids to find good focal points. The rule requires you to divide the width and height of your paper in three equal parts. The four intersection points of the resulting lines are called the “hotspots”. Each of these hotspots can be used as focal points for your composition.

3. Balance – When creating a drawing you should always balance every compositional element relative to the focal point. It is important to develop your intuition for balance and then trust it and apply it.

4. Shapes – Shapes are one important element in a composition. There are two types: positive shapes (actual objects) and negative shapes (empty spaces in between objects). The idea is to strive for a balance in both types relative to the focal point and within the boundaries of your paper.

5. Value – Value is yet another element to keep in mind when putting together your composition. Value refers to the darks and the lights. Here again, balance is the keyword. Make sure that large areas of darks and/or lights are balanced within the boundaries of your paper.

6. Intensity – Intensity (particularly of color) refers to the degree of brilliance. Color but also plain pencil graphite can be dull or brilliant or anything in between. Your drawing should also be balanced in terms of relative intensity.

7. Color – Color is the fourth element of composition. Observe how colored objects interact with each other to create a subtle harmony or a flashing contrast. Try to create a pleasing and exciting color composition.

8. Vision – When establishing the basic structure of your composition, ask yourself whether or not it conveys the meaning or vision you have in mind. A good composition can help communicate your vision to the viewer.

9. Temperature – Color artists often talk in terms of warm and cool colors. A good color drawing will have a certain overall temperature (warm or cool), but within that overall feel there must still be balance in the relative temperature of the object colors.

10. Emotion – Understand that all the rules of composition are just aids in trying to create a good work of art. Therefore, the application of these rules should not be too obvious so that the viewer is not immediately drawn into an analysis of your work instead first responding to it emotionally.

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