Kevin completed school and commenced work as an office boy with a firm of Sydney based stockbrokers. During this period Kevin did not paint or sketch regularly in his spare time. In 1958 Kevin married his wife Dorn and they raised six children. He stayed in the stockbroking industry for 28 years. In 1972 he recommenced painting and drawing in his spare time, and after significant encouragement from family and friends he left his Stock Broking career to become a full time professional artist in september 1977 at the age of 45.
Kevin in the 1970's. Kevin is a "self taught" artist who spent many years experimenting with his art, with a strong focus on the use of light remeniscent of the paintings of famous Australian artist Sir Hans Heyson.
Kevin has become a popular professional artist in Australia, and now ranks amongst the top Australian artists of today.
His experiences as a youth with camping and bushwalking allowed him to develop strong insights into the Australian bush and beach. His continuing love of nature is demonstrated in his paintings. Kevin has specifically travelled across Australia to visit the most highly ranked natural beauty spots as well as "out of way" places that are largely untouched by humans to develop further his ability to depict scenes of Australia.
2007年7月31日星期二
Sydney. Kevin's
Kevin's first painting was sold for just A$90.00 (a 30"x 40" painting) and was sold by the Royce Gallery in the Rocks, Sydney. Kevin's reputation developed initially through sales at charity events, school events and small local showings. Over time his reputation developed and spread so widely that solo exhibitions often led to complete sell outs of all his art works displayed. He has made a consistent practice of donating paintings to charities for fund raising, and also spent considerable time teaching disadvantaged and disabled children how to paint.
Kevin was awarded the Order of Australia (OAM) by the Australian Government on the 26th January 2005 for his continuing services to Australian Art.
Kevin was awarded the Order of Australia (OAM) by the Australian Government on the 26th January 2005 for his continuing services to Australian Art.
Kevins paintings have
Kevins paintings have been reproduced in many forms including: calendars, placemats, coasters, prints, limited edition prints and books. During the 1980s and 1990s a range of Australian themed Easter& Christmas biscuit tins (cookie tins) were released through major supermarkets featuring Kevin's paintings on the lids.Kevin's paintings have been acquired by numerous private and corporate collections throughout Australia and internationally.His paintings invoke images of simpler times, childhood innocence, natural beauty, the rugged stockman, droving cattle, the roundup and other pastoral or beachside images. His paintings also cover iconic Australian themes developed by Banjo Paterson, CJ Dennis, and other colonial Australian authors.
The first book focusing
The first book focusing on Kevin's art was released in 1996 entitled "A Brush with Light".
In July 2007 a second book called "Secrets of the Brush" was released which Kevin describes as "the final chapter in my life". The book reproduces photos of many of his most popular works, as well as covering his life, his career, and people and places of significance to Kevin's art. The book also covered Kevins painting techniques to allow others to bring to light their own painting abilities.
In July 2007 a second book called "Secrets of the Brush" was released which Kevin describes as "the final chapter in my life". The book reproduces photos of many of his most popular works, as well as covering his life, his career, and people and places of significance to Kevin's art. The book also covered Kevins painting techniques to allow others to bring to light their own painting abilities.
Varieties
According to its different painting techniques:
Ink and Wash Painting (水墨花鸟画/水墨花鸟画) Representatives: Lin Liang(:zh:林良林良), Qi Baishi (齐白石), Zhang Daqian (张大千)
Fine-brush (工笔花鸟/工笔花鸟画) Fine-brush with Ink and Wash Painting (工笔水墨/兼工带水墨) Representatives: Lin Liang (林良), Ren Yi (任颐), Zhang Daqian (张大千)
Fine-brush with Colour (工彩) Fine-brush with Heavy Colour (工笔重彩) Fine-brush with Light Colour (工笔淡彩) Representatives: Emperor Huizong (赵佶), Lv Ji (吕纪), Lin Liang (林良), Zhang Daqian (张大千)
Enjoyable Style (写意花鸟/写意花鸟画) Great Enjoyable Style (大写意) Slight Enjoyable Style (小写意) Representatives: Tang Yin (唐寅), Xu Wei (徐渭), Wu Changshuo (吴昌硕), Ren Yi (任颐), Zhang Daqian (张大千)
Fine-brush with Enjoyable Style (兼工带写) Representatives: Lin Liang (林良), Tang Yin (唐寅), Zhang Daqian (张大千)
Ink and Wash Painting (水墨花鸟画/水墨花鸟画) Representatives: Lin Liang(:zh:林良林良), Qi Baishi (齐白石), Zhang Daqian (张大千)
Fine-brush (工笔花鸟/工笔花鸟画) Fine-brush with Ink and Wash Painting (工笔水墨/兼工带水墨) Representatives: Lin Liang (林良), Ren Yi (任颐), Zhang Daqian (张大千)
Fine-brush with Colour (工彩) Fine-brush with Heavy Colour (工笔重彩) Fine-brush with Light Colour (工笔淡彩) Representatives: Emperor Huizong (赵佶), Lv Ji (吕纪), Lin Liang (林良), Zhang Daqian (张大千)
Enjoyable Style (写意花鸟/写意花鸟画) Great Enjoyable Style (大写意) Slight Enjoyable Style (小写意) Representatives: Tang Yin (唐寅), Xu Wei (徐渭), Wu Changshuo (吴昌硕), Ren Yi (任颐), Zhang Daqian (张大千)
Fine-brush with Enjoyable Style (兼工带写) Representatives: Lin Liang (林良), Tang Yin (唐寅), Zhang Daqian (张大千)
Painting topics
According the Chinese tradition, it's "Hua, Niao, Yu, Chong" (literarily "flower, bird, fish, insect", Traditional Chinese:花鳥魚蟲, Simplified Chinese:花鸟鱼虫)
Flowers (plants), fish, insects, birds, pets (dog, cat) etc
Flowers (plants), fish, insects, birds, pets (dog, cat) etc
Hua-niao painting
Hua-niao painting (Traditional Chinese: 花鳥畫, Simplified Chinese: 花鸟画), or Hua-niao, in Chinese literarily means "Painting of Bird and Flower", or just simply "Bird-Flower Painting" or "Bird-Flower", is a kind of Chinese painting named after its painting topic. Normally, most of the Hua-niao belongs to the kind of scholar-artist style of Chinese painting.
Portrait production in
Portrait production in Europe and the Americas declined in the middle of the 20th century, a result of the increasing interest in abstraction and nonfigurative art. More recently, however, there has been a revival of portraiture. English artists such as Lucian Freud and Francis Bacon have produced powerful paintings. Many contemporary American artists, such as Chuck Close, have made the human face a focal point of their work.The end of the 20th century marked a revival of figurative art and as a side effect the market for painted and sculpted portraits increased significantly. Beside the market for corporate and clerical portraits, that has been quite stable through the ages, it became common practice for the middle-class to commission portraits of children, beloved ones, whole families or even pets.
20th century
Early 20th-century artists expanded the repertoire of portraiture. Fauvist artist Henri Matisse produced powerful portraits using nonnaturalistic, even garish, colors for skin tones. Spanish artist Pablo Picasso painted many portraits, including several cubist portraits, in which the likeness of the subject is inferior to the stylistic appearance. Expressionist painters provided some of the most haunting and compelling psychological studies ever produced. German artists such as Otto Dix and Max Beckmann, as well as Austrian painter Oskar Kokoschka, produced notable examples of expressionist portraiture.
A modern family portrait.Portrait production in Europe and the Americas declined in the middle of the 20th century, a result of the increasing interest in abstraction and nonfigurative art. More recently, however, there has been a revival of portraiture. English artists such as Lucian Freud and Francis Bacon have produced powerful paintings. Many contemporary American artists, such as Chuck Close, have made the human face a focal point of their work.
The end of the 20th century marked a revival of figurative art and as a side effect the market for painted and sculpted portraits increased significantly. Beside the market for corporate and clerical portraits, that has been quite stable through the ages, it became common practice for the middle-class to commission portraits of children, beloved ones, whole families or even pets.
A modern family portrait.Portrait production in Europe and the Americas declined in the middle of the 20th century, a result of the increasing interest in abstraction and nonfigurative art. More recently, however, there has been a revival of portraiture. English artists such as Lucian Freud and Francis Bacon have produced powerful paintings. Many contemporary American artists, such as Chuck Close, have made the human face a focal point of their work.
The end of the 20th century marked a revival of figurative art and as a side effect the market for painted and sculpted portraits increased significantly. Beside the market for corporate and clerical portraits, that has been quite stable through the ages, it became common practice for the middle-class to commission portraits of children, beloved ones, whole families or even pets.
18th and 19th centuries
In the late 18th century and early 19th century, neoclassical artists depicted subjects attired in the latest fashions, which were derived from ancient Greek and Roman clothing styles. The artists used light that had great clarity to define texture and the simple roundness of faces and limbs. French painters Jacques-Louis David and Jean-Auguste-Dominique Ingres and Italian sculptor Antonio Canova were leading practitioners of neoclassical portraiture.
Self-portrait (1906), Umberto Boccioni. Portrait of Daniel-Henry Kahnweiler (1910) by Pablo Picasso. Anne in White (1920) by George Bellows.Romantic artists, who worked during the first half of the 19th century, preferred to paint exciting portraits of inspired leaders and agitated subjects, using lively brush strokes and dramatic, sometimes moody, lighting. French artists Eugène Delacroix and Théodore Géricault painted particularly fine portraits, the most noteworthy being Géricault's series of portraits of mental patients (1822-1824). Spanish painter Francisco de Goya painted some of the most searching and provocative images of the period, including La maja desnuda (c. 1797-1800), which is believed to be a portrait.
The realist artists of the mid-19th century created objective portraits depicting ordinary people. French painter Gustave Courbet created many realistic portraits, while French artist Honoré Daumier produced many caricatures of his contemporaries. French artist Henri de Toulouse-Lautrec chronicled some of the famous dancers in the theater. French painter Édouard Manet, whose work hovers between realism and impressionism, was a portraitist of outstanding insight and technique.
Self-portrait (1887) by Vincent Van Gogh.The impressionists of the late 19th century relied on family and friends to model for them and painted intimate groups and single figures represented either outdoors or in light-filled interiors. French painters Claude Monet, Edgar Degas, and Pierre Auguste Renoir created some of the most popular images of individual sitters. Noted for their shimmering surfaces and rich dabs of paint, these portraits are often disarmingly intimate and very appealing. American artist Mary Cassatt, who worked in France, was noted for her engaging portraits of mothers and children. Paul Gauguin and Vincent van Gogh, both postimpressionist artists of the late 19th century to early 20th century, painted revealing portraits of people they knew, but they are best known for their powerful self-portraits.
John Singer Sargent (January 12, 1856 – April 14, 1925) spanned the change of century and was generally considered to be the most successful portrait painter of his era. Sargent was born in Florence, Italy to American parents. He studied in Italy and Germany, and then in Paris under Emile Auguste Carolus-Duran.
Self-portrait (1906), Umberto Boccioni. Portrait of Daniel-Henry Kahnweiler (1910) by Pablo Picasso. Anne in White (1920) by George Bellows.Romantic artists, who worked during the first half of the 19th century, preferred to paint exciting portraits of inspired leaders and agitated subjects, using lively brush strokes and dramatic, sometimes moody, lighting. French artists Eugène Delacroix and Théodore Géricault painted particularly fine portraits, the most noteworthy being Géricault's series of portraits of mental patients (1822-1824). Spanish painter Francisco de Goya painted some of the most searching and provocative images of the period, including La maja desnuda (c. 1797-1800), which is believed to be a portrait.
The realist artists of the mid-19th century created objective portraits depicting ordinary people. French painter Gustave Courbet created many realistic portraits, while French artist Honoré Daumier produced many caricatures of his contemporaries. French artist Henri de Toulouse-Lautrec chronicled some of the famous dancers in the theater. French painter Édouard Manet, whose work hovers between realism and impressionism, was a portraitist of outstanding insight and technique.
Self-portrait (1887) by Vincent Van Gogh.The impressionists of the late 19th century relied on family and friends to model for them and painted intimate groups and single figures represented either outdoors or in light-filled interiors. French painters Claude Monet, Edgar Degas, and Pierre Auguste Renoir created some of the most popular images of individual sitters. Noted for their shimmering surfaces and rich dabs of paint, these portraits are often disarmingly intimate and very appealing. American artist Mary Cassatt, who worked in France, was noted for her engaging portraits of mothers and children. Paul Gauguin and Vincent van Gogh, both postimpressionist artists of the late 19th century to early 20th century, painted revealing portraits of people they knew, but they are best known for their powerful self-portraits.
John Singer Sargent (January 12, 1856 – April 14, 1925) spanned the change of century and was generally considered to be the most successful portrait painter of his era. Sargent was born in Florence, Italy to American parents. He studied in Italy and Germany, and then in Paris under Emile Auguste Carolus-Duran.
Baroque and Rococo
During the baroque and rococo periods (17th century and 18th century, respectively), portraits became even more important. In a society dominated increasingly by secular leaders in powerful courts, images of opulently attired figures were both symbols of temporal power and wealth, and a means to affirm the authority of certain individuals. Flemish painters Sir Anthony van Dyck and Peter Paul Rubens excelled at this type of portraiture. Also during these periods, artists increasingly studied the facial expressions that accompanied different emotions and they emphasized the portrayal of these human feelings in their work. In particular, Italian sculptor Gianlorenzo Bernini and Dutch painter Rembrandt explored the many expressions of the human face. This interest fostered the creation of the first caricatures, credited to the Carracci Academy, run by painters of the Carracci family in the late 16th century in Bologna, Italy (see Annibale Carracci).
Group portraits were produced in greater numbers during the baroque period, particularly in the Netherlands. Dutch painter Frans Hals used fluid brush strokes of vivid color to enliven his group portraits, and Rembrandt experimented with unconventional compositions and chiaroscuro into the group portrait, most notably in his famous Night Watch (1642). Bernini's bust Scipione Borghese (1632) captured the subject in mid-conversation and is considered a benchmark of baroque portraiture both because of its lifelike depiction of the subject and because it showed the subject in action.
Rococo artists, who were particularly interested in rich and intricate ornamentation, excelled at the refined portrait. Their attention to the details of dress and texture increased the efficacy of portraits as testaments to worldly wealth. French painters François Boucher and Hyacinthe Rigaud proved to be remarkable chroniclers of opulence, as were English painters Thomas Gainsborough and Sir Joshua Reynolds. In the 18th century, female painters gained new importance, particularly in the field of portraiture. Notable female artists include French painter Élisabeth Vigée-Lebrun, Italian pastel artist Rosalba Carriera, and Swiss artist Angelica Kauffmann.
Group portraits were produced in greater numbers during the baroque period, particularly in the Netherlands. Dutch painter Frans Hals used fluid brush strokes of vivid color to enliven his group portraits, and Rembrandt experimented with unconventional compositions and chiaroscuro into the group portrait, most notably in his famous Night Watch (1642). Bernini's bust Scipione Borghese (1632) captured the subject in mid-conversation and is considered a benchmark of baroque portraiture both because of its lifelike depiction of the subject and because it showed the subject in action.
Rococo artists, who were particularly interested in rich and intricate ornamentation, excelled at the refined portrait. Their attention to the details of dress and texture increased the efficacy of portraits as testaments to worldly wealth. French painters François Boucher and Hyacinthe Rigaud proved to be remarkable chroniclers of opulence, as were English painters Thomas Gainsborough and Sir Joshua Reynolds. In the 18th century, female painters gained new importance, particularly in the field of portraiture. Notable female artists include French painter Élisabeth Vigée-Lebrun, Italian pastel artist Rosalba Carriera, and Swiss artist Angelica Kauffmann.
Early history
Portraiture's roots are likely found in prehistoric times, although few of these works survive today. In the art of the ancient civilizations of the Fertile Crescent, depictions of rulers and gods abound, although most of these were done in a highly stylised fashion. Some of the earliest portraits of people who were not kings or emperors are the funeral portraits that survived in the dry climate of Egypt's Fayum district (illustration, below). These are the only paintings of the Roman period that have survived, aside from frescos.
Roman-Egyptian funeral portrait of a womanThe art of the portrait flourished in Roman sculptures, where sitters demanded realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of an idealized symbol of what that person looked like. (Compare the portraits of Roman Emperors Constantine I and Theodosius I at their entries.) In Europe true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in Burgundy and France.
[edit] RenaissanceThe Renaissance marked a turning point in the history of portraiture. Partly out of interest in the natural world and partly out of interest in the classical cultures of ancient Greece and Rome, portraits—both painted and sculpted—were given an important role in Renaissance society.
Portrait medals, based on the medals made in classical times, were popular in Italy. Those by Pisanello are particularly fine. During this period the tradition of the portrait miniature began, developing out of the skills of painters of the miniatures in illuminated manuscripts. Artists also revived the classical practice of making portrait busts, good examples of which are the elegant sculptures of Francesco Laurana. Profile portraits, inspired by ancient medallions, were particularly popular in Italy between 1450 and 1500. Later, profile portraits depicted donors, represented in the paintings and altarpieces they had commissioned. Important portraitists include Sandro Botticelli, Raphael, and Leonardo da Vinci. One of best-known portraits in the Western world is Leonardo da Vinci's painting titled Mona Lisa, which is a painting of an unidentified woman. Perhaps the finest 16th-century portraitist was Venetian artist Titian, who portrayed many leading figures of his day. Italian Mannerist artists contributed many exceptional portraits that emphasized material richness and elegantly complex poses, as in the works of Agnolo Bronzino and Jacopo da Pontormo. One of the best portraitists of 16th-century Italy was Sofonisba Anguissola from Cremona, who infused her individual and group portraits with new levels of complexity.
Northern European artists used the profile format far less often, and very seldom after 1420. In the Netherlands, Jan van Eyck was a leading portraitist; The Arnolfini Marriage (1434, National Gallery, London) is a detailed full-length portrait of a couple. Leading German portrait artists include Hans Holbein the Younger and Albrecht Dürer.
Roman-Egyptian funeral portrait of a womanThe art of the portrait flourished in Roman sculptures, where sitters demanded realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of an idealized symbol of what that person looked like. (Compare the portraits of Roman Emperors Constantine I and Theodosius I at their entries.) In Europe true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in Burgundy and France.
[edit] RenaissanceThe Renaissance marked a turning point in the history of portraiture. Partly out of interest in the natural world and partly out of interest in the classical cultures of ancient Greece and Rome, portraits—both painted and sculpted—were given an important role in Renaissance society.
Portrait medals, based on the medals made in classical times, were popular in Italy. Those by Pisanello are particularly fine. During this period the tradition of the portrait miniature began, developing out of the skills of painters of the miniatures in illuminated manuscripts. Artists also revived the classical practice of making portrait busts, good examples of which are the elegant sculptures of Francesco Laurana. Profile portraits, inspired by ancient medallions, were particularly popular in Italy between 1450 and 1500. Later, profile portraits depicted donors, represented in the paintings and altarpieces they had commissioned. Important portraitists include Sandro Botticelli, Raphael, and Leonardo da Vinci. One of best-known portraits in the Western world is Leonardo da Vinci's painting titled Mona Lisa, which is a painting of an unidentified woman. Perhaps the finest 16th-century portraitist was Venetian artist Titian, who portrayed many leading figures of his day. Italian Mannerist artists contributed many exceptional portraits that emphasized material richness and elegantly complex poses, as in the works of Agnolo Bronzino and Jacopo da Pontormo. One of the best portraitists of 16th-century Italy was Sofonisba Anguissola from Cremona, who infused her individual and group portraits with new levels of complexity.
Northern European artists used the profile format far less often, and very seldom after 1420. In the Netherlands, Jan van Eyck was a leading portraitist; The Arnolfini Marriage (1434, National Gallery, London) is a detailed full-length portrait of a couple. Leading German portrait artists include Hans Holbein the Younger and Albrecht Dürer.
Portrait painting
Portrait painting is a genre in painting, where the intent is to depict the visual appearance of the subject, mostly a person, whereas the portrait is expected to show the essence of the subject. The term 'portrait painting' can also describe a painted portrait. Portraitists create their portraits by commission or are inspired by admiration or affection for the subject. If an artist portrayes him- or herself, the result is called a self-portrait.
Portraits can depict the subject 'full body', 'half length' or 'head and shoulders'. Beside human beings, animals, pets and even inanimate objects can be chosen as the subject for a portrait.
Portraits can depict the subject 'full body', 'half length' or 'head and shoulders'. Beside human beings, animals, pets and even inanimate objects can be chosen as the subject for a portrait.
This article about a company of the UK is a stub. You can help Wikipedia by expanding it.
Daler-Rowney 1783-2006
Daler-Rowney’s reputation as a manufacturer of the Finest Art Materials dates back more than 200 years. In 1983, the Daler Board Company purchased the George Rowney Company to become Daler-Rowney Limited as it’s known today. In their own specialist areas of manufacture, both companies led the development of fine artist’s materials in the United Kingdom for hundreds of years. The combined heritage of both companies and the Daler-Rowney name has become synonymous with consistent quality to artists throughout the world.
In 1783, the Rowney Company was established when Richard and Thomas Rowney moved to central London and opened a premises selling perfumes and wig powder. As the wearing of wigs soon became unfashionable (an event for which George IV was blamed as he discarded his own wig), the Rowney’s re-focused themselves and concentrated upon producing artists colour. They accomplished notable success, supplying such famous artists as Constable and Turner. Turner was indeed a family friend for whom the company became the appointed official lithographers.
The Rowney Company relocated many times during the 19th and 20th centuries and achieved many improvements in the manufacture and production of oil and watercolour throughout this time. In 1963, Rowney was the first manufacturer in Europe to introduce an artist’s Acrylic colour. ‘Cryla’ was widely used by artist’s in the United Kingdom throughout the 1960’s and 70’s and heralded a new era in art practice which became known as ‘Pop Art’. Two of the most well known proponents, Peter Blake and Bridget Riley, used Rowney ‘Cryla’ acrylics extensively during this period.
In 1969, the company made its final move out of central London to its present address and headquarters in Bracknell, England. The business had passed through generations of Rowney children and Tom Rowney was now at the helm. Tom worked as Managing Director for over 30 years but as he had no family following him in the business, he looked for a buyer. Morgan Crucible, a conglomerate, bought the George Rowney Company in 1968 and managed its operations for a number of years. In 1983 the company was re-sold to the Daler-Board Company (1983 also being Rowney’s bi-centennial year).
The Daler Board Company was incorporated in 1946 starting life the previous year when Terry Daler returned from a German prison camp. With his brother Ken and brother in law Arthur, they initially started business as sign writers. During the Second World War, shop signs along the south coastal towns of England had been painted out so that invading Germans would not know where they were. As a result, the business thrived in the years that followed the end of the war as shop signs were re-painted once more.
Another little known shortage of wartime was the inability for artists to obtain canvas. Typically, an oil painting requires a sealed, toothed surface to pull the thick oil colour off the brush. Arthur, a talented artist himself, improvised to create a new surface to replace canvas. Cardboard was sealed and primed through a mesh (we believe he used a kitchen net curtain), which when removed left a perfectly textured surface. Arthur’s canvas substitute was eventually developed into a commercial product and the ‘Daler Board’ was born.
Daler developed a variety of products across the whole spectrum of artist’s materials between 1945 and 1960 including pads such as the distinctive red and yellow Series A. Other new products to the Daler range included canvas panels, stretched canvas, mountboard and artist’s luggage. In 1975, Daler introduced the first synthetic brush to the artists materials market. ‘Dalon’ was the first real rival to the sable brush for over 100 years.
Once the two companies merged, Daler-Rowney became highly successful in the United Kingdom and has held the largest percentage share of the market in artist’s materials for many years. Expansion into the European market occurred in 1991 when a Belgium distributor ‘Art & Craft’ was purchased. This warehouse has now become the European sales & marketing and distribution centre.
Daler-Rowney had already established distribution offices in New Jersey, USA in 1988, and in 1994 bought the premier brand of artist’s brushes in the USA, ‘Robert Simmons’. The company has three manufacturing sites – colour and artists substrates at two sites in the United Kingdom and brushes in the Dominican Republic. Exports are made to over 90 countries worldwide.
Daler-Rowney has maintained and built upon its reputation as ‘The Artist’s Choice Since 1783’ and continues to be trusted by artists worldwide today. Every product is endorsed by the Daler-Rowney guarantee of quality. It’s a promise we don’t make lightly. After all, we have a reputation to live up to.
(From Daler-Rowney)
Daler-Rowney’s reputation as a manufacturer of the Finest Art Materials dates back more than 200 years. In 1983, the Daler Board Company purchased the George Rowney Company to become Daler-Rowney Limited as it’s known today. In their own specialist areas of manufacture, both companies led the development of fine artist’s materials in the United Kingdom for hundreds of years. The combined heritage of both companies and the Daler-Rowney name has become synonymous with consistent quality to artists throughout the world.
In 1783, the Rowney Company was established when Richard and Thomas Rowney moved to central London and opened a premises selling perfumes and wig powder. As the wearing of wigs soon became unfashionable (an event for which George IV was blamed as he discarded his own wig), the Rowney’s re-focused themselves and concentrated upon producing artists colour. They accomplished notable success, supplying such famous artists as Constable and Turner. Turner was indeed a family friend for whom the company became the appointed official lithographers.
The Rowney Company relocated many times during the 19th and 20th centuries and achieved many improvements in the manufacture and production of oil and watercolour throughout this time. In 1963, Rowney was the first manufacturer in Europe to introduce an artist’s Acrylic colour. ‘Cryla’ was widely used by artist’s in the United Kingdom throughout the 1960’s and 70’s and heralded a new era in art practice which became known as ‘Pop Art’. Two of the most well known proponents, Peter Blake and Bridget Riley, used Rowney ‘Cryla’ acrylics extensively during this period.
In 1969, the company made its final move out of central London to its present address and headquarters in Bracknell, England. The business had passed through generations of Rowney children and Tom Rowney was now at the helm. Tom worked as Managing Director for over 30 years but as he had no family following him in the business, he looked for a buyer. Morgan Crucible, a conglomerate, bought the George Rowney Company in 1968 and managed its operations for a number of years. In 1983 the company was re-sold to the Daler-Board Company (1983 also being Rowney’s bi-centennial year).
The Daler Board Company was incorporated in 1946 starting life the previous year when Terry Daler returned from a German prison camp. With his brother Ken and brother in law Arthur, they initially started business as sign writers. During the Second World War, shop signs along the south coastal towns of England had been painted out so that invading Germans would not know where they were. As a result, the business thrived in the years that followed the end of the war as shop signs were re-painted once more.
Another little known shortage of wartime was the inability for artists to obtain canvas. Typically, an oil painting requires a sealed, toothed surface to pull the thick oil colour off the brush. Arthur, a talented artist himself, improvised to create a new surface to replace canvas. Cardboard was sealed and primed through a mesh (we believe he used a kitchen net curtain), which when removed left a perfectly textured surface. Arthur’s canvas substitute was eventually developed into a commercial product and the ‘Daler Board’ was born.
Daler developed a variety of products across the whole spectrum of artist’s materials between 1945 and 1960 including pads such as the distinctive red and yellow Series A. Other new products to the Daler range included canvas panels, stretched canvas, mountboard and artist’s luggage. In 1975, Daler introduced the first synthetic brush to the artists materials market. ‘Dalon’ was the first real rival to the sable brush for over 100 years.
Once the two companies merged, Daler-Rowney became highly successful in the United Kingdom and has held the largest percentage share of the market in artist’s materials for many years. Expansion into the European market occurred in 1991 when a Belgium distributor ‘Art & Craft’ was purchased. This warehouse has now become the European sales & marketing and distribution centre.
Daler-Rowney had already established distribution offices in New Jersey, USA in 1988, and in 1994 bought the premier brand of artist’s brushes in the USA, ‘Robert Simmons’. The company has three manufacturing sites – colour and artists substrates at two sites in the United Kingdom and brushes in the Dominican Republic. Exports are made to over 90 countries worldwide.
Daler-Rowney has maintained and built upon its reputation as ‘The Artist’s Choice Since 1783’ and continues to be trusted by artists worldwide today. Every product is endorsed by the Daler-Rowney guarantee of quality. It’s a promise we don’t make lightly. After all, we have a reputation to live up to.
(From Daler-Rowney)
2007年7月29日星期日
Windpumps
A windpump is a type of windmill used for pumping water from a well or draining land.
On US farms, particularly in the Midwest, windpumps of the type pictured were used to pump water from farm wells for cattle. Today this is done primarily by electric pumps, and only a few windpumps survive as unused relics of a previous technology.
Windpumps similar in construction to the ones from the US Midwest are still being used extensively in Southern Africa. In South Africa and Namibia thousands of windpumps are still operating. These are mostly used to provide water for human use as well as drinking water for large sheep stocks. At least 21 different types of windpumps are still operational in South Africa.[citation needed] Unfortunately few manufacturers still exist, although Southern Cross, Climax (Stewarts and Lloyds) and Poldaw windpumps are still distributed.[citation needed]
Kenya has also benefited from the Africa development of windpump technologies. At the end of the 70s, the UK NGO Intermediate Technology Development Group provided engineering support to the Kenyan company Bobs Harries Engineering Ltd for the development of the Kijito windpumps. Nowadays Bobs Harries Engineering Ltd is still manufacturing the Kijito windpumps and more than 300 Kijito windpumps are operating in the whole of East Africa.
Brograve Mill, UK. An example of the derelict state of many Broadland WindpumpsThe Netherlands is well known for its windmills. Most of these iconic structures situated along the edge of polders are actually windpumps, designed to drain the land. These are particularly important as much of the country lies below sea level.
Many windpumps were built in The Broads, of East Anglia in the United Kingdom for the draining of land. They have since been mostly replaced by electric power, many of these windpumps still remain, mainly in a derelict state, however some have been restored.
On US farms, particularly in the Midwest, windpumps of the type pictured were used to pump water from farm wells for cattle. Today this is done primarily by electric pumps, and only a few windpumps survive as unused relics of a previous technology.
Windpumps similar in construction to the ones from the US Midwest are still being used extensively in Southern Africa. In South Africa and Namibia thousands of windpumps are still operating. These are mostly used to provide water for human use as well as drinking water for large sheep stocks. At least 21 different types of windpumps are still operational in South Africa.[citation needed] Unfortunately few manufacturers still exist, although Southern Cross, Climax (Stewarts and Lloyds) and Poldaw windpumps are still distributed.[citation needed]
Kenya has also benefited from the Africa development of windpump technologies. At the end of the 70s, the UK NGO Intermediate Technology Development Group provided engineering support to the Kenyan company Bobs Harries Engineering Ltd for the development of the Kijito windpumps. Nowadays Bobs Harries Engineering Ltd is still manufacturing the Kijito windpumps and more than 300 Kijito windpumps are operating in the whole of East Africa.
Brograve Mill, UK. An example of the derelict state of many Broadland WindpumpsThe Netherlands is well known for its windmills. Most of these iconic structures situated along the edge of polders are actually windpumps, designed to drain the land. These are particularly important as much of the country lies below sea level.
Many windpumps were built in The Broads, of East Anglia in the United Kingdom for the draining of land. They have since been mostly replaced by electric power, many of these windpumps still remain, mainly in a derelict state, however some have been restored.
2007年7月25日星期三
Wet in wet
Two methods of applying paint to the surface for special effect are "wet-in-wet" (or "wet-on-wet") and "dry brush". Wet-in-wet is used to avoid a hard edge at the margin of the paint. Wet-in-wet paint flows on a wet surface. The paint is wet (diluted) and the surface of the medium is wet.
The surface of the paper or other medium is first "painted" with water, thinned paint is then dripped or lightly applied to the wet surface. The color flows along the wet area. More paint can be added to increase the area covered.
After the first wet application has dried, additional wet layers can be applied. The flow is controlled to some extent by the wetness of the surface; the amount, consistency, and placement of the paint; and by tilting the surface to encourage the paint to flow in the desired direction. The somewhat unpredictable results of the wet-in-wet technique can lead to some surprising but welcome effects.
The surface of the paper or other medium is first "painted" with water, thinned paint is then dripped or lightly applied to the wet surface. The color flows along the wet area. More paint can be added to increase the area covered.
After the first wet application has dried, additional wet layers can be applied. The flow is controlled to some extent by the wetness of the surface; the amount, consistency, and placement of the paint; and by tilting the surface to encourage the paint to flow in the desired direction. The somewhat unpredictable results of the wet-in-wet technique can lead to some surprising but welcome effects.
Paper
Watercolor paper is designed to properly support the paint and be sturdy enough to withstand the painting action. Painting on thin paper such as used for computer printers, for example, is possible but the paper will buckle (if not dissolve entirely), the paint will remain on the surface, running off in an uncontrolled manner.
The surface of watercolor paper can vary in its smoothness from very smooth to very rough. A watercolor painting on rough paper will result in quite a different look than a similar painting on smoother paper. The artist selects paper with a finish to give the desired effect.
Rough-surfaced paper is called "Rough", a smoother surface but still slightly rough is called "Cold Press" (aka "Not"), the smoothest surface is "Hot Press."
Watercolor paper is typically made of 100% cotton rag. Papers of lesser quality might be mixtures of rag (cotton) and other materials. Some artists use only better grade papers to get the effects they desire. The quality of paper can make a significant difference in the result.
The thickness of commercial watercolor paper varies from 90 pounds to 300 pounds (the weight of a ream of about 500 sheets of the paper.) A middle weight, common thickness, is 140 pound paper. While almost any paper of any thickness will buckle when wet, paper less than 140 pound thickness will buckle severely from the water and should be "stretched" before using. Even 140 pound paper will show some stress when wet watercolor is applied over large areas. 300 pound weight paper does not buckle severely and does not have to be stretched.
When using individual sheets, one might consider "stretching" the paper to prevent severe moisture-based buckling of the paper. Using this method, the paper is soaked in a tub of cool water. The amount of time to soak will depend on the weight of the paper (fifteen minutes maximum for the heaviest sheet). Once the paper is at its full saturation, lay the sheet on a drawing board and use gummed tape or staples to secure the paper to the board. Be sure all air bubbles are pressed out before affixing to the board. Lay the board flat and let dry before the painting is begun. Any drawing can be done before the soaking. The term "stretching" is actually a little deceiving since the paper is in reality, "shrinking", tension applied to the paper as it dries, much like a drum head.
A watercolor "block" is a pad of paper bound on all four sides, which prevents buckling in a similar way as stretching. There are usually 20 sheets of paper in a block. After the top sheet is used, it is peeled off and the next sheet is exposed.
Besides commercial watercolor paper, arches paper is also commonly used and preferred.
The surface of watercolor paper can vary in its smoothness from very smooth to very rough. A watercolor painting on rough paper will result in quite a different look than a similar painting on smoother paper. The artist selects paper with a finish to give the desired effect.
Rough-surfaced paper is called "Rough", a smoother surface but still slightly rough is called "Cold Press" (aka "Not"), the smoothest surface is "Hot Press."
Watercolor paper is typically made of 100% cotton rag. Papers of lesser quality might be mixtures of rag (cotton) and other materials. Some artists use only better grade papers to get the effects they desire. The quality of paper can make a significant difference in the result.
The thickness of commercial watercolor paper varies from 90 pounds to 300 pounds (the weight of a ream of about 500 sheets of the paper.) A middle weight, common thickness, is 140 pound paper. While almost any paper of any thickness will buckle when wet, paper less than 140 pound thickness will buckle severely from the water and should be "stretched" before using. Even 140 pound paper will show some stress when wet watercolor is applied over large areas. 300 pound weight paper does not buckle severely and does not have to be stretched.
When using individual sheets, one might consider "stretching" the paper to prevent severe moisture-based buckling of the paper. Using this method, the paper is soaked in a tub of cool water. The amount of time to soak will depend on the weight of the paper (fifteen minutes maximum for the heaviest sheet). Once the paper is at its full saturation, lay the sheet on a drawing board and use gummed tape or staples to secure the paper to the board. Be sure all air bubbles are pressed out before affixing to the board. Lay the board flat and let dry before the painting is begun. Any drawing can be done before the soaking. The term "stretching" is actually a little deceiving since the paper is in reality, "shrinking", tension applied to the paper as it dries, much like a drum head.
A watercolor "block" is a pad of paper bound on all four sides, which prevents buckling in a similar way as stretching. There are usually 20 sheets of paper in a block. After the top sheet is used, it is peeled off and the next sheet is exposed.
Besides commercial watercolor paper, arches paper is also commonly used and preferred.
Materials
The broader term for water-based painting media is "watermedia". The term "watercolor" most often to refers to traditional transparent watercolor or gouache (an opaque form of the same paint), but also includes the use of thinned acrylic paint.
Traditional watercolor paint is made of finely-ground pigment mixed with gum arabic for body, and glycerin or honey for viscosity and to bond the colorant to the painting surface. Unpigmented filler is added to gouache to lend opacity to the paint. Oil of clove is used to prevent mold.
Watercolor paints vary in their transparency, some being less transparent (more covering) than others. The more transparent paints allow the paper (or an undercolor) to show through while others allow less of the undercolor to be seen.
As there is no transparent white watercolor, the white parts of a watercolor painting are most often areas of the paper "reserved" (left unpainted) and allowed to be seen in the finished work. White paint might be used to indicate snow on a fence or the foam in the sea, as examples, by using Chinese White or White Gouache. These are not transparent. Traditionally, such non-transparent paint is used sparingly so as not to lose the light and airy look of the work.
Some watercolor pigments are "fugitive", meaning they fade over time when exposed to light. An example is Alizarin Crimson. Some paint makers offer a different formulation of pigment as a less-fugitive alternative. These often have the word "hue" as part of the name. "Alizarin Crimson Hue" can be expected to be less fugitive than Alizarin Crimson.
"Staining" is another characteristic of certain watercolor pigments. A staining color is difficult to remove and persists on the paper. Less staining colors can be lightened or removed almost entirely when wet or when re-wetted by "lifting" with a wet brush, paper towel, tissue, sponge, or similar.
Commercial watercolor paints come in two grades: "Artist" (or "Professional") and "Student". Artist quality paints are usually formulated using a single pigment, which results in richer color and vibrant mixes. Student grade paints have less pigment, and often are formulated using two or more less expensive pigments. Artist and Professional paints are more expensive but many consider the quality worth the higher cost.
Paint pigments and formulation vary among manufacturers. Paints with the same color name from different makers can vary in hue, staining, and other characteristics.
Traditional watercolor paint is made of finely-ground pigment mixed with gum arabic for body, and glycerin or honey for viscosity and to bond the colorant to the painting surface. Unpigmented filler is added to gouache to lend opacity to the paint. Oil of clove is used to prevent mold.
Watercolor paints vary in their transparency, some being less transparent (more covering) than others. The more transparent paints allow the paper (or an undercolor) to show through while others allow less of the undercolor to be seen.
As there is no transparent white watercolor, the white parts of a watercolor painting are most often areas of the paper "reserved" (left unpainted) and allowed to be seen in the finished work. White paint might be used to indicate snow on a fence or the foam in the sea, as examples, by using Chinese White or White Gouache. These are not transparent. Traditionally, such non-transparent paint is used sparingly so as not to lose the light and airy look of the work.
Some watercolor pigments are "fugitive", meaning they fade over time when exposed to light. An example is Alizarin Crimson. Some paint makers offer a different formulation of pigment as a less-fugitive alternative. These often have the word "hue" as part of the name. "Alizarin Crimson Hue" can be expected to be less fugitive than Alizarin Crimson.
"Staining" is another characteristic of certain watercolor pigments. A staining color is difficult to remove and persists on the paper. Less staining colors can be lightened or removed almost entirely when wet or when re-wetted by "lifting" with a wet brush, paper towel, tissue, sponge, or similar.
Commercial watercolor paints come in two grades: "Artist" (or "Professional") and "Student". Artist quality paints are usually formulated using a single pigment, which results in richer color and vibrant mixes. Student grade paints have less pigment, and often are formulated using two or more less expensive pigments. Artist and Professional paints are more expensive but many consider the quality worth the higher cost.
Paint pigments and formulation vary among manufacturers. Paints with the same color name from different makers can vary in hue, staining, and other characteristics.
2007年7月23日星期一
People painted
Miss Annie Ahlers [1] Brigadier-General The 8th Earl of Albemarle [2] Queen Alexandra[2] Miss Mary Arbuthnot HRH The Princess Louise, Duchess of Argyll [2] Arthur Balfour [2] Sir Henry Birchenough Lady Brocket [2] Lady Castlereigh [1] Charles Clare [2] HM King Constantine I of the Hellenes [2] Earl Curzon of Kedleston [2] Baroness Conrad de Meyendorff, nee Nadine Vladimimova Louguinine [2] Randall Davidson [2] Sir Alfred East, ARA [2] King Edward VII [2] Mrs Archie Graham, née Dorothy Shuttleworth [2] HRIH Princess Nicholas of Greece, née Grand Duchess Elena Vladimirovna of Russia [2] Miss Lucy Guinness [2] His Holiness Pope Innocent X [2] Joseph Joachim [2] Hudson Kearley, 1st Viscount Devonport [2]> Daniela Grunelius [1] Prince Chlodwig zu Hohenlohe-Schillingsfurst [1] The Archmandrite Gregorius [1] HRH The Duchess of Kent [1] Jan Kubelik [2] Cosmo Gordon Lang Archbishop of Canterbury [2] Philip de Laszlo His Holiness Pope Leo XIII [1] James Lowther, 1st Viscount Ullswater [2] Mrs Geoffrey Luttrell [1] Lord and Lady Minto [1] The artist's mother [1] Louis Mountbatten, 1st Marquess of Milford Haven [2] The Duke and Duchess of Portland [2] Earl Roberts of Kandahar [2]> Vita Sackville-West [2] Mrs George Sandys, née Dulcie Redford [2] William Waldegrave Palmer, 2nd Earl of Selborne [2] Lt Desmond Trouton [2] Robin Vane-Tempest-Stewart, 8th Marquess of Londonderry [2] Lady Wantage [1] Lady Wernher [2] HIM Emperor Wilhelm II of Germany [2] Queen Elizabeth, the Queen Mother when Duchess of York [2] HM The Queen when Princess Elizabeth of York [2]
Artists' brushes
Artists' brushes are usually given numbered sizes, although there is no exact standard for their physical dimensions.
From smallest to largest, the sizes are:
10/0, 7/0 (also written 0000000), 6/0, 5/0, 4/0, 000, 00, 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 16, 18, 20, 22, 24, 25, 26, 28, 30. Brushes as fine as 30/0 are manufactured by major companies, but are not a common size. Sizes 000 to 20 are most common.
Artists' brushes are most commonly categorized by type and by shape.
Types include: watercolor brushes which are usually made of sable, synthetic sable or nylon; oil painting brushes which are usually made of sable or bristle; and acrylic brushes which are almost entirely nylon or synthetic. Turpentine or thinners used in oil painting can destroy some types of synthetic brushes. However, innovations in synthetic bristle technology have produced solvent resistant synthetic bristles suitable for use in all mediums. Natural hair, squirrel, badger or sable are used by watercolorists due to their superior ability to absorb and hold water.
Shapes are quite varied and often watercolor brushes come in the most variety of shapes. Rounds (pointed), flats, brights (shorter than flats) and filbert are the most common. Other shapes include stipplers (short, stubby rounds), deer-foot stipplers, liners (elongated rounds), daggers, scripts (highly elonged rounds), eggberts, fans, among others.
Bristles may be natural -- either soft hair or hog bristle -- or synthetic.
Soft hair brushes are made from Kolinsky sable or ox hair (sabeline); or more rarely, squirrel, pony, goat, or badger. Cheaper hair is sometimes called camel hair... but doesn't come from camels. Hog bristle (often called china bristle or Chunking bristle) is stiffer and stronger than soft hair. It may be bleached or unbleached. Synthetic bristles are made of special multi-diameter extruded nylon filament. Artists' brush handles are commonly wooden but can also be made of moulded plastic handles. Many mass-produced handles are made of unfinished raw wood; better quality handles are of seasoned hardwood. The wood is sealed and lacquered to give the handle a high-gloss, waterproof finish that reduces soiling and swelling.
Metal ferrules may be of aluminum, nickel, copper, or nickel-plated steel. Quill ferrules are also found: these give a different "feel" to the brush. The top of the range brushes, however, usually have ferrules made from transparent plastic tightened in place by thin wire.
From smallest to largest, the sizes are:
10/0, 7/0 (also written 0000000), 6/0, 5/0, 4/0, 000, 00, 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 16, 18, 20, 22, 24, 25, 26, 28, 30. Brushes as fine as 30/0 are manufactured by major companies, but are not a common size. Sizes 000 to 20 are most common.
Artists' brushes are most commonly categorized by type and by shape.
Types include: watercolor brushes which are usually made of sable, synthetic sable or nylon; oil painting brushes which are usually made of sable or bristle; and acrylic brushes which are almost entirely nylon or synthetic. Turpentine or thinners used in oil painting can destroy some types of synthetic brushes. However, innovations in synthetic bristle technology have produced solvent resistant synthetic bristles suitable for use in all mediums. Natural hair, squirrel, badger or sable are used by watercolorists due to their superior ability to absorb and hold water.
Shapes are quite varied and often watercolor brushes come in the most variety of shapes. Rounds (pointed), flats, brights (shorter than flats) and filbert are the most common. Other shapes include stipplers (short, stubby rounds), deer-foot stipplers, liners (elongated rounds), daggers, scripts (highly elonged rounds), eggberts, fans, among others.
Bristles may be natural -- either soft hair or hog bristle -- or synthetic.
Soft hair brushes are made from Kolinsky sable or ox hair (sabeline); or more rarely, squirrel, pony, goat, or badger. Cheaper hair is sometimes called camel hair... but doesn't come from camels. Hog bristle (often called china bristle or Chunking bristle) is stiffer and stronger than soft hair. It may be bleached or unbleached. Synthetic bristles are made of special multi-diameter extruded nylon filament. Artists' brush handles are commonly wooden but can also be made of moulded plastic handles. Many mass-produced handles are made of unfinished raw wood; better quality handles are of seasoned hardwood. The wood is sealed and lacquered to give the handle a high-gloss, waterproof finish that reduces soiling and swelling.
Metal ferrules may be of aluminum, nickel, copper, or nickel-plated steel. Quill ferrules are also found: these give a different "feel" to the brush. The top of the range brushes, however, usually have ferrules made from transparent plastic tightened in place by thin wire.
Florean Fortescue's Ice Cream Parlour
An office of the wizarding newspaper, The Daily Prophet, as witnessed by the fact that "Letters to the editor should be sent by owl to The Daily Prophet, Diagon Alley, London."[1] The Daily Prophet's known staff include journalist Rita Skeeter and her photographer, Bozo. It should be noted that there is an Evening Prophet and Sunday Prophet.
Cauldron Shop
Sells all different varieties and sizes of cauldrons, including copper, brass, pewter, silver, self-stirring, collapsible, and solid gold, according to a sign outside the shop in Harry Potter and the Philosopher's Stone. Hogwarts requires its students to have a size 2 pewter cauldron. The Cauldron Shop is very near to the entrance from The Leaky Cauldron. PS Ch.5
Apothecary
The Apothecary sells potions and potion ingredients. The shop is "fascinating" despite its very bad smell — a mixture of bad eggs and rotten cabbage.PS Ch.5 The inside includes barrels of slimy stuff on the floor; jars of herbs, dried roots and bright powders on the shelves; and bundles of feathers, strings of fangs and snarled claws hanging from the ceiling.PS Ch.5
Some of the ingredients available are silver unicorn horns (for twenty-one Galleons each) and glittery-black beetle eyes (five Knuts a scoop). Both of these are basic Potions ingredients for Hogwarts students.PS
Some of the ingredients available are silver unicorn horns (for twenty-one Galleons each) and glittery-black beetle eyes (five Knuts a scoop). Both of these are basic Potions ingredients for Hogwarts students.PS
Diagon Alley
Diagon Alley (a pun on "diagonally") is a fictional street in London, and is effectively a magical High Street in J. K. Rowling's Harry Potter series. It is accessible to the wizarding world, to which it is something of an economic hub, but hidden from Muggles. However, Muggles are allowed access to it if they need to accompany their Muggle-born magical children. It is home to Ollivander's, makers of magic wands since 382 BC (likely the country's primary supplier), as well as the goblin-run Gringotts Bank and Madam Malkin's Robes For All Occasions. Other establishments include Flourish & Blotts bookstore, Eeylops' Owl Emporium, Quality Quidditch Supplies and The Leaky Cauldron, a famous wizarding pub and inn. For those shopping for Hogwarts equipment, Diagon Alley serves all needs.
There are other shopping areas besides Diagon Alley — the notorious Knockturn Alley is home to mainly stores of ill repute among many wizards (such as Borgin and Burkes, which sells Dark objects and cursed items); and the town of Hogsmeade.
One entrance to Diagon Alley can be reached on foot by passing through The Leaky Cauldron. The inn, invisible to Muggles, lies somewhere along the London thoroughfare Charing Cross Road. To reach Diagon Alley, one must walk up to a wall behind The Leaky Cauldron, and tap a brick, found by counting three up and two across, three times. Given the busy nature of the area, travelling to and from Diagon Alley is likely typically done by more magical means such as Apparition or by using the Floo Network.
The DVD of Harry Potter and the Chamber of Secrets includes a video "guided tour" of Diagon Alley, apparently shot on the original film sets.
There are other shopping areas besides Diagon Alley — the notorious Knockturn Alley is home to mainly stores of ill repute among many wizards (such as Borgin and Burkes, which sells Dark objects and cursed items); and the town of Hogsmeade.
One entrance to Diagon Alley can be reached on foot by passing through The Leaky Cauldron. The inn, invisible to Muggles, lies somewhere along the London thoroughfare Charing Cross Road. To reach Diagon Alley, one must walk up to a wall behind The Leaky Cauldron, and tap a brick, found by counting three up and two across, three times. Given the busy nature of the area, travelling to and from Diagon Alley is likely typically done by more magical means such as Apparition or by using the Floo Network.
The DVD of Harry Potter and the Chamber of Secrets includes a video "guided tour" of Diagon Alley, apparently shot on the original film sets.
2007年7月11日星期三
Calligraphy
Calligraphy (from Greek κάλλος kallos "beauty" + γραφή graphẽ "writing") is the art of beautiful writing (Mediavilla 1996: 17). A contemporary definition of calligraphic practice is "the art of giving form to signs in an expressive, harmonious and skillful manner" (Mediavilla 1996: 18). The story of writing is one of aesthetic evolution framed within the technical skills, transmission speed(s) and materials limitations of a person, time and place (Diringer 1968: 441). A style of writing is described as a script, hand or alphabet (Fraser & Kwiatkowski 2006; Johnston 1909: Plate 6) .
Calligraphy ranges from functional hand lettered inscriptions and designs to fine art pieces where the abstract expression of the handwritten mark may or may not supersede the legibility of the letters (Mediavilla 1996). Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may create all of these; characters are historically disciplined yet fluid and spontaneous, improvised at the moment of writing (Pott 2006 & 2005; Zapf 2007 & 2006). So, many calligraphers are as happy with "jazz" as "classical" for musical analogy and represents differing emphasis between artists.
Calligraphy continues to flourish in the forms of wedding and event invitations, font design/ typography, original hand-lettered logo design, religious art, commissioned calligraphic art, cut stone inscriptions, memorial documents, props and moving images for film and television, testimonials, maps, and other works involving writing.
Calligraphy ranges from functional hand lettered inscriptions and designs to fine art pieces where the abstract expression of the handwritten mark may or may not supersede the legibility of the letters (Mediavilla 1996). Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may create all of these; characters are historically disciplined yet fluid and spontaneous, improvised at the moment of writing (Pott 2006 & 2005; Zapf 2007 & 2006). So, many calligraphers are as happy with "jazz" as "classical" for musical analogy and represents differing emphasis between artists.
Calligraphy continues to flourish in the forms of wedding and event invitations, font design/ typography, original hand-lettered logo design, religious art, commissioned calligraphic art, cut stone inscriptions, memorial documents, props and moving images for film and television, testimonials, maps, and other works involving writing.
Artists' brushes
Artists' brushes are usually given numbered sizes, although there is no exact standard for their physical dimensions.
From smallest to largest, the sizes are:
From smallest to largest, the sizes are:
- 10/0, 7/0 (also written 0000000), 6/0, 5/0, 4/0, 000, 00, 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 16, 18, 20, 22, 24, 25, 26, 28, 30। Brushes as fine as 30/0 are manufactured by major companies, but are not a common size।
Sizes 000 to 20 are most common।
Artists' brushes are most commonly categorized by type and by shape.
Types include: watercolor brushes which are usually made of sable, synthetic sable or nylon; oil painting brushes which are usually made of sable or bristle; and acrylic brushes which are almost entirely nylon or synthetic. Turpentine or thinners used in oil painting can destroy some types of synthetic brushes. However, innovations in synthetic bristle technology have produced solvent resistant synthetic bristles suitable for use in all mediums. Natural hair, squirrel, badger or sable are used by watercolorists due to their superior ability to absorb and hold water.
Shapes are quite varied and often watercolor brushes come in the most variety of shapes. Rounds (pointed), flats, brights (shorter than flats) and filbert are the most common. Other shapes include stipplers (short, stubby rounds), deer-foot stipplers, liners (elongated rounds), daggers, scripts (highly elonged rounds), eggberts, fans, among others.
Bristles may be natural -- either soft hair or hog bristle -- or synthetic।
Soft hair brushes are made from Kolinsky sable or ox hair (sabeline); or more rarely, squirrel, pony, goat, or badger। Cheaper hair is sometimes called camel hair... but doesn't come फ्रॉम।Hog bristle (often called china bristle or Chunking bristle) is stiffer and stronger than soft hair. It may be bleached or unbleached. Synthetic bristles are made of special multi-diameter extruded nylon filament. Artists' brush handles are commonly wooden but can also be made of moulded plastic handles. Many mass-produced handles are made of unfinished raw wood; better quality handles are of seasoned hardwood. The wood is sealed and lacquered to give the handle a high-gloss, waterproof finish that reduces soiling and swelling.
Metal ferrules may be of aluminum, nickel, copper, or nickel-plated steel. Quill ferrules are also found: these give a different "feel" to the brush. The top of the range brushes, however, usually have ferrules made from transparent plastic tightened in place by thin wire.
Brush
The term brush refers to a variety of devices mainly with bristles, wire or other filament of any possible material used mainly for cleaning, grooming hair, make up making painting, deburring and other kinds of surface finishing, but also for many other purposes like (but not limited to) seals, alternative traction systems and any other use imaginable for this tool.
In the industry it is possible to find many configurations such as twisted in wire (like the ones used to wash baby feeding bottles), cylinders, disks (with bristles spread in one face or radially) or in any other shape needed. There are many ways of setting the bristle in the brush: the most common is the staple or anchor set brush, in which the filament is forced with a staple by the middle into a hole with a special driver and held there by the pressure against the walls of the hole and the portions of the staple nailed to the bottom of the hole. The staple can be substituted with a kind of anchor, which is a piece of rectangular profile wire that, instead of nailing itself to the bottom of hole, is anchored to the wall of the hole, like in most toothbrushes. Another way to set the bristles to the surface can be found in the fused brush, in which instead of being inserted into a hole, a plastic fiber is welded to another plastic surface, giving the additional advantage of optionally using different diameters of tufts in the same brush, and a considerably thinner surface (sometimes the bristles can be set this way to the outer surface of a plastic bottle).
In the industry it is possible to find many configurations such as twisted in wire (like the ones used to wash baby feeding bottles), cylinders, disks (with bristles spread in one face or radially) or in any other shape needed. There are many ways of setting the bristle in the brush: the most common is the staple or anchor set brush, in which the filament is forced with a staple by the middle into a hole with a special driver and held there by the pressure against the walls of the hole and the portions of the staple nailed to the bottom of the hole. The staple can be substituted with a kind of anchor, which is a piece of rectangular profile wire that, instead of nailing itself to the bottom of hole, is anchored to the wall of the hole, like in most toothbrushes. Another way to set the bristles to the surface can be found in the fused brush, in which instead of being inserted into a hole, a plastic fiber is welded to another plastic surface, giving the additional advantage of optionally using different diameters of tufts in the same brush, and a considerably thinner surface (sometimes the bristles can be set this way to the outer surface of a plastic bottle).
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