Monthly Archives: May 2017

Create a Neopoprealist Art Work

NeoPopRealism is a style of art that aims to combine the simplicity of modern pop art with the philosophical depth of realism. This style of art does have its “rules,” but it is largely focused on creating artwork that is unique to the individual. To create a NeoPopRealism art work, learn about the style, practice it, and then work on a simple project until you are ready to create work that stems purely from your own imagination.

  1. Doodle on a piece of paper. You don’t have to feel very familiar with the style to begin practicing. Take out a blank piece of paper and a pencil. Begin to doodle. Don’t think about what you’re doodling. Right now, the goal is to open up your mind and forget restrictions. It’s not important if your doodle resembles other NeoPopRealist works for now.
  2. Create a sketch after you’ve doodled for a while. Once you’ve created several doodles, create a sketch. Basically, you should use the lines to create the shape and sections. Then, fill the sections with different patterns and ornaments. If you can’t think of what to draw, draw a line that resembles the profile of a face. Then, draw the basic features of that face with loose lines and shapes.
  3. Use a pen to draw your sketch. Nadia Russ recommends using a pen to draw in this style so that you can’t erase what you’ve created. After creating a sketch, take out another piece of paper. Use a pen to draw what you’ve sketched. It’s okay if the drawing looks different from what you’ve sketched or if you make mistakes. Do not give up until you feel the drawing is complete.
  4. Draw several patterns. You can dive into creating the egg if you’d like, but it’s okay to start by generating ideas by drawing patterns. Take out a piece of paper and a pencil. Fill the paper with several separate and unique patterns. You can use the patterns to fill in your egg when you’re ready.
  5. Draw an egg shape on paper. Once you’ve come up with some patterns, draw the shape of an egg on a piece of paper. You should only draw the basic outline, and the inside of the “egg” should be empty. It’s okay if the shape isn’t perfect, but you can redraw it if you aren’t happy with the first shape.
  6. Fill the egg with lines and patterns. Now, fill the egg with several different, unique patterns by using a pen. You can put some thought into this or do it entirely without putting conscious effort into what you’re drawing. If you want some structure, section your egg off by drawing several lines so that you create “spaces” for your patterns. Then, fill those spaces with patterns like the ones you practiced. Don’t stop until the entire egg has been filled—unless you want to leave white space.
  7. Paint your pattern onto a wooden egg. Your artwork can be finished when you complete the egg on paper, or you can use that egg as a base for a wooden egg. If so, take a wooden egg and acrylic paint in the colors of your choice. Use a thin paintbrush to paint patterns all over the wooden egg. Wait a few minutes for the paint to dry and then finish by spraying it with a clear varnish.

Title Work of Art

Giving a title to a work of art can be a very complicated process, as it reveals another layer of meaning for the artwork. Conveying the right sense in the right combination of words can be difficult. There is no tried-and-true method of naming a work of art, but there are strategies and exercises that can help you pinpoint the best name to represent your hard work and creativity. This article will help you to find that perfect name.

  1. Make a list of themes central to the artwork. Brainstorm a list of ideas that reflect what your artwork is about. It can be simple, such as “trees” or “girl,” but it can also be thematic or subconscious, such as “friendship” or “childhood.” Think about what the meaning of the artwork is, and how the title can convey that meaning.
  2. Identify your motivation behind the artwork. What drove you to create this piece of art? Reflect on your feelings about this artwork and what you’d like to share with your audience. How does the artwork make you feel? Identify the story you want to tell.
  3. Pinpoint the artwork’s focal point. With artwork, there are certain areas of the piece that the artist wants the audience to see first or to pay the most attention to. Think about the focal point of your artwork. What do you want people to focus on when they observe your artwork? Naming your artwork after the focal point can help people understand your artwork better.
  4. Consider what audiences need to know. Oftentimes, titles help audiences understand what they’re looking at. Titles can give tools to the audience to know how to interpret the piece. What do you want audiences to know about your artwork?
    • Do you want your title to direct the viewer towards a particular interpretation? For example, a work of art of a dog sitting on a beach can be interpreted in a number of ways. But if you title the picture, “Abandoned,” the viewer will assume that the dog has been abandoned on the beach. If you title the picture, “Best Friend,” people will react differently to the dog’s presence.
    • Some artists prefer not to tell the meaning of their artwork, deliberately leaving the title ambiguous.
  5. Make the title meaningful for yourself. No matter your reasoning for choosing a particular title, make it meaningful for you. You are, after all, the artist, and the artwork is made primarily for yourself. Some artists like to have titles that convey certain meanings so that they remember certain details about the process of making the artwork, what inspired the artwork, and so on.

Value Your Art

Part 1 > Looking at the Art It self
  • Research the artist’s output. How many works of art did the artist complete? The output of the artist in general greatly affects price. Prolific artists’ pieces of work tend to be less valuable than those of artists who simply produced less, all things being equal.
  • Find out if there are duplicates. Is the work one-of-a-kind? Because of supply and demand, works that are singular are worth more than replicated works. For this reason, a paintings is usually worth more than a print or a lithograph — there are simply fewer of them out on the market.
  • Pinpoint when in the artist’s career the work was completed. Was the work completed early on or toward the twilight of their career? Interestingly enough, works of art completed early in artists’ careers are usually valued higher than those completed later on.
  • Ask yourself if the work epitomizes the artist’s style. Works of art that epitomize an artist’s aesthetic are usually appraised higher than works of art that are tangential or not representative of the artist’s oeuvre.
  • Investigate whether the artist is well-known or has a reputation. Artists generally fall into three categories of renown: well-known, up-and-coming, and unknown. Artists who are well-known and have a rich history of collection can almost always command more value more than artists who are unknown.
  • Know that size matters. Generally, bigger works of art are appraised higher than smaller ones, usually because of the degree of difficulty involved.
  • Find out if the piece of art has ever been owned by someone renowned. Barring the artist themselves, works of art that were formerly owned by someone famous or well-known can command much higher prices than those pieces who don’t ha or condition issues. An item that is ripped, water-damaged, discolored, or otherwise damaged can return significantly less than an item that is in perfect shape. Note that an item that isn’t technically damaged but isn’t as vibrant as it was when first completed will qualify as having a “condition issue.”
Part 2 >Taking the Market’s Pulse
  • Investigate market demand. In short, how many people want to buy the piece of art? Art is sold in a market. This means that the value of items offered in the market fluctuates depending on how much buyers want the piece, as well as how much they are willing to pay. Ask yourself if the market is in a peak, where demand is usually high, or a trough, where demand is depressed.
  • Look at liquidity. Liquidity, also called marketability, is the reliability with which an asset or security can be sold without affecting its asking price. In the art world, high liquidity means that it’s relatively easy to sell an item quickly and thus convert its value into cash. Low liquidity means that it’s harder to do this, creating a barrier to converting an asset into cash.
  • Look at market trends. Related to demand, pricing trends are usually the result of changes in people’s perceptions of art or changes in their material circumstances.
  • Place the art in a primary or secondary market.  The primary market is what the work of art is valued at when it is first sold. The secondary market is what the work of art is valued at after it has been sold at least once. The secondary market value has a direct relation to what the item was sold for in the primary market

Arts and Entertainment

How to Become a Famous Artist

Your dream of becoming a famous artist may not be as far-fetched as it might seem: child prodigy Sir John Everett Millais was one of the founders of the Pre-Raphaelite movement, and won a silver medal at the Society of Arts at age nine. Also, Pablo Picasso, co-founder of the Cubist movement, was regarded as a boy genius. Even today, young artists such as Akiane Kramarik are heralded as prodigies. If you have what it takes, your name may be destined to be remembered throughout the ages.

Practice. Being called by the muse is a wonderful thing, without a doubt, but without the technical abilities to realize your vision, you won’t get very far. Whatever your chosen medium or media, become an expert in every part of it.

  • Set aside an hour or more each day to devote to nothing but practicing your technique.
  • Focus especially on those areas that are the weakest for you, but build your strengths as well.
  • Take advantage of the communities and resources that you can find. Artist supply manufacturers, and art stores themselves, often have free literature, tutorials, videos, and websites that are loaded with tips, techniques, and more.
  • Some stores even offer weekend training seminars, where you can not only pick up some new skills, you’ll also meet other artists.

Work on the things you love. Choose one subject that is meaningful to you and that you want to be able to draw well.

  • Start with a still life, or a photo that’s yours, in public domain, or that you have permission to use. Draw or paint that same photo over and over, using different approaches—paint, pencil, abstract, realism—whatever moves you.
  • Build up from easy subjects, like a rubber ball or a rectangular block, to more complicated, difficult subject, like a rose, a clear glass marble or a shiny metal bowl. And try to get the details right: the curves of a petal, the clarity of the glass, or reflections so good that Escher would be impressed! Each of them will improve your ability to draw in general.
  • Practice timed gesture drawing. Pick your subject, set your timer for two or three minutes, start drawing, then stop when the timer goes off, even if the drawing isn’t finished.
  • Set the timer again and start over. Doing 10 three minute drawings will give you more skill than taking half an hour to draw the same thing in detail.

Vary the art tools you use. Start off with a pencil, then go to charcoal, colored pencils, pastels, paint, whatever interests you. Never fear trying new tools or techniques.

  • When trying an expensive new medium, visit Dick Blick or Jerry’s Artarama and email them for samples. Many types of art suppliers make sample sized products or the company will send out just one stick or a small piece of the expensive paper or canvas for you to test before deciding what to buy.
  • This gives you a chance to try it first and see if you like it. Try more than one brand—the samples are usually not the same color and you can find out which brand to invest in by those trials.

Get critiqued by family and friends. Make it clear you want a real opinion, not just a biased, “I love you so everything you do is wonderful” opinion. If they think it’s good, then you’re on the right track! If they don’t, you’re still on the right track: if several people think your technique is great, but your subject matter leaves something to be desired, that’s an opportunity for self-reflection and to learn something.

  • Don’t confuse critique with personal criticism, especially if the critic is somebody who is not interested in seeing you become an artist.

Look outside your circle for opinions. Look for critique from people who draw better than you do. Make friends online with real artists whose work you admire. Compliment them and ask intelligent questions about their techniques. You’ll rapidly find that many artists enjoy teaching beginners and will be happy to share what they’ve learned.

  • As you learn more, reach out to those who are just starting. You will learn more every time you explain and demonstrate what you already know. It’s very common for teachers to learn from their students!

Learn to accept compliments gracefully. When friends and family members love everything you draw and think it’s wonderful, or your mum was putting your childhood scribblings up on the fridge from the time you were two (and believes you’ll be Picasso someday), relax and enjoy that as support.

  • The better you get at art, the easier it is for people to compliment you and call you talented.
  • Compliments can sometimes be critiques, and those are very valuable! Should an artist whose work you admire give you a compliment such as, “I love the colors in this,” this means they are not only nice enough to compliment you on your work, but have taken the time to understand and appreciate the choices you made.

Develop a strong personal style. Do this by learning to paint and draw your favorite subjects in all the ways that every painter you like best has done them. The more you learn technique and understand your own passions, the more your own style will emerge.

  • Having a personal style is a combination of learning to draw and paint well in your favorite mediums while consistently paying the most attention to your favorite subjects.
  • You will become a specialist, a “brand of one” at a certain intermediate level of competence. Mastering a subject and a medium comes later, at the point when you could do it easily without thinking at all about how you do it, yet always have consistent results.