Quote of The Day: Consider the postage stamp it usefullness is it's ability to stick to one thing till it gets there

The postage stamp is you and you as a person need to be like the stamp as to when you start something that you finish it and stick with it even when it seems that the goal is not going to happen you stay there till it does.

Color Theory

The Color Wheel

A color circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colors in 1666. Since then scientists and artists have studied and designed numerous variations of this concept. Differences of opinion about the validity of one format over another continue to provoke debate. In reality, any color circle or color wheel which presents a logically arranged sequence of pure hues has merit.

  

PRIMARY COLORS
Red, yellow and blue

In traditional color theory, these are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues

SECONDARY COLORS
Green, orange and purple
These are the colors formed by mixing the primary colors.

TERTIARY COLORSYellow-orange, red-orange, red-purple, blue-purple, blue-green and yellow-green.

These are the colors formed by mixing a primary and a secondary color. That's why the hue is a two word name, such as blue-green, red-violet, and yellow-orange. 

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 COLOR HARMONY

Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry, color, or even an ice cream sundae.

In visual experiences, harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance in the visual experience. When something is not harmonious, it's either boring or chaotic. At one extreme is a visual experience that is so bland that the viewer is not engaged. The human brain will reject under-stimulating information. At the other extreme is a visual experience that is so overdone, so chaotic that the viewer can't stand to look at it. The human brain rejects what it can not organize, what it can not understand. The visual task requires that we present a logical structure. Color harmony delivers visual interest and a sense of order.

In summary, extreme unity leads to under-stimulation, extreme complexity leads to over-stimulation. Harmony is a dynamic equilibrium.

Research, Investigate, and Inquire....What are they?

Research can be defined as the search for knowledge, or as any systematic investigation, with an open mind, to establish novel facts, usually using a scientific method. The primary purpose for basic research (as opposed toapplied research) is discovering, interpreting, and the development of methods and systems for the advancement of human knowledge on a wide variety of scientific matters of our world and the universe.


in·ves·ti·ga·tion  (n-vst-gshn)

n.

1. The act or process of investigating.

2. A detailed inquiry or systematic examination. See Synonyms at inquiry.

in·quire/inˈkwī(ə)r/Verb

1. Ask for information from someone: "“How much do you know?” he inquired of me"; "he inquired about cottages for sale".

2. Ask about the health and well-being of (someone)

You start with inquire which is the question that you have to ask. Investigate the question to see what you need to learn about it (who? what? when? where? why?). Once you know what you are looking for you do research on those exact question and proved references.

What Is Experimental Art?

experimental art or the making of it is the process of putting together materials on the various surfaces while responding to the outcome as an idea.  This idea may be a process that will be carried from one painting to the next.  Each time I paint something new is added through layered papers, various mediums, and textures.  It is when the outcome of the painting becomes predictable... this is when I move on to the next.

Creative Processes Vs. Scientific Method

What is it about the scientific process that people admire? Predictability, certainty, and repeatability. The essence of the scientific method is to test a hypothesis: if I try this, will it work, yes or no? Any time I repeat that process, if done correctly and no other variables are introduced, I should get the same response. The response can be tallied, measured, and recorded.

For observing, analyzing, and understanding natural phenomena and even for some engineering tasks, this process makes sense. But it does not work well for design, because good design is not repeatable. The general design process is certainly repeatable (strategy > research > concepts > refinement), but the outcome, the result of the process, is never repeatable and never guessed at from the outset, for the simple reason that context in design is too important. I can use the exact same process with two similar organizations working in the same field and end up with two widely varying products. Perform the same process with the same group of people a year apart, and you will get different outcomes. Unlike in science, where, when, and, especially, who is performing the design activity matters.

Unlike the scientific method, which attempts to strip humanity out of its practitioners (because you want the results to be able to be repeated (and tested for accuracy) by anyone able to follow the formula/process), the humanity of the participants is enormously important in design. Different designers may, of course, come up with the same solution, but in design, very frequently there is no one correct solution. The solution that would work for one organization might not for another. Someone inside LG or Motorola might have come up with something similar to the iPhone, but even if they had, it wasn’t the right solution for their organizations. It would have been rejected (likely to their later dismay). The solution has to work for the context.

Quote of the Day: Solutions are just a snapshot in time on the route of discovery

This Means that find solutions to the small problems to help you solve the overall big problem or goal that you have set before you and in order to do so you have to get over the little bumps in the road

How Artist Get There Inspiration

It really varies by artist. They draw/paint/sculpt whatever it is that they’re passionate about and what they feel helps them to express themselves. You have to search in your own life and ask yourself what you’re passionate about. Other natural impluses.

Dr. Suess & Frank Frazztta

Frank Frazztta  uses the natural human body and the intensity of the body's muscles.

Dr. Suess is a more out of the box type artist he uses non human things to show how the relationships between humans is not what it is but what you make of it. 

Archetecture Over the Last 10 Years

Over the years metal and concrete have allowed us to build thing that were once thought to be unsound. The metal can be munipulated and shaped to so many different ways and still hold up and be strong enough to stand.

Illustration/Comic

il·lus·tra·tion

   [il-uh-strey-shuhn]  Show IPA

–noun

1.

something that illustrates,  as a picture in a book ormagazine.

2.

a comparison or an example intended for explanation orcorroboration.

3.

the act or process of illuminating.

4.

the act of clarifying or explaining; elucidation.

5.

Archaic . illustriousness; distinction.

Lines in Art

A line is an identifiable path created by a point moving in space. It is one-dimensional and can vary in width, direction, and length. Lines often define the edges of a form. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin. They lead your eye around the composition and can communicate information through their character and direction. Examples:

Landscape with a Calm, Nicholas Poussin, 1650–1651 Horizontal lines suggest a feeling of rest or repose because objects parallel to the earth are at rest. In this landscape, horizontal lines also help give a sense of space. The lines delineate sections of the landscape, which recede into space. They also imply continuation of the landscape beyond the picture plane to the left and right.

Saint Bavo, Haarlem, Pieter Jansz. Saenredam, 1634   Vertical lines often communicate a sense of height because they are perpendicular to the earth, extending upwards toward the sky. In this church interior, vertical lines suggest spirituality, rising beyond human reach toward the heavens.

Cabinet, French, about 1785 Horizontal and vertical lines used in combination communicate stability and solidity. Rectilinear forms with 90-degree angles are structurally stable. This stability suggests permanence and reliability.

A Storm on the Mediterranean Coast, Claude-Joseph Vernet, 1767     Fifth Avenue Looking South from Thirtieth Street, attributed to Silas A. Holmes, about 1855   Diagonal lines convey a feeling of movement. Objects in a diagonal position are unstable. Because they are neither vertical nor horizontal, they are either about to fall or are already in motion. The angles of the ship and the rocks on the shore convey a feeling of movement or speed in this stormy harbor scene. In a two-dimensional composition, diagonal lines can also indicate depth through perspective. These diagonal lines pull the viewer visually into the image. For example, in this photograph the diagonal lines lead the eye into the space to the point where the lines converge.

Frank Gehry

The light in this building inhances your the 3 deminsional affects.

Light in Art

Light was originally portrayed in art with a symbol. Light as fire is a symbol. There are symbols for sunlight as well. Light in art was not even considered part of the art image, outside of being a symbol, during many historical phases. Halos and light beams became symbols for light during the Rise of Christianity, as light took on a religious significance. Not until lighting was combined with realistic representation did light acquire a new meaning. The meaning of light today is as broadly categorized as the variety of understandings it carries with it to the present day.

Read more: Use of Light in Art | eHow.com http://www.ehow.com/about_5246365_use-light-art.html#ixzz1CobjrT7u

Quote of the Day

A Truly Creative Person Rids Himself from Self Imposed Limitations.

If you get rid of the limits you set on yourself you give yourself the means to do anything you set your mind to. With no limits your mind can work to its full potential.

Aesthetics

Aesthetics (also spelled æsthetics or esthetics) is a branch of philosophy dealing with the nature of beauty, art, and taste, and with the creation and appreciation of beauty.^[1] It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste.^[2] More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature."^[3][4] Aesthetics is related to axiology, a branch ofphilosophy, and is closely associated with the philosophy of art.^[5] Aesthetics studies new ways of seeing and of perceiving the world.
This philosophy is meaningful because it the natural beauty not fake

D. Hockney

Hockney was born in Bradford to Laura and Kenneth Hockney and educated first at Wellington Primary School. After being educated at Wellington Primary School, he then went to Bradford Grammar School, Bradford College of Art and the Royal College of Art in London, where he met R. B. Kitaj. While still a student at the Royal College of Art, Hockney was featured in the exhibition Young Contemporaries—alongside Peter Blake—that announced the arrival of British Pop Art. He became associated with the movement, but his early works also display expressionist elements, not dissimilar to certain works by Francis Bacon. Sometimes, as in We Two Boys Together Clinging(1961), named after a poem by Walt Whitman, these works make reference to his love for men. From 1963, Hockney was represented by the influential art dealer John Kasmin. In 1963 Hockney visited New York, making contact with Andy Warhol. A later visit to California, where he lived for many years, inspired Hockney to make a series of paintings of swimming pools in Los Angeles, using the comparatively new Acrylic medium and rendered in a highly realistic style using vibrant colours. In 1967, his painting, Peter Getting Out Of Nick's Pool, won the John Moores Painting Prize at the Walker Art Gallery in Liverpool. He also made prints, portraits of friends, and stage designs for the Royal Court Theatre, Glyndebourne, La Scala and the Metropolitan Opera in New York City.