This unique collaboration will enable UCF Press Photography students to have their work marketed and sold commercially through Rex Features - reaching national and world-wide media that would normally only be available to professional photographers. Rex Features will also provide the students with feedback and constructive criticism about their work as well as invaluable insights into the world which they inhabit, to help them fast-track their careers upon graduation.

Rex Features will also share its wealth of knowledge and experience with the students at Falmouth by providing guest speakers throughout the year ranging from professional photographers to editors who will inform them about every aspect of the fast-paced and competitive world of press photography. To complement the course’s existing expertise, students will be invited to visit Rex Features at its headquarters in London to gain an insider view of exactly how the business works.

The BA(Hons) Press Photography course was launched by University College Falmouth in 2007 and its first cohort of students, known as The Pressgang, has already won national acclaim.

In March this year, Rex Features syndicated world-wide a photograph by first-year student, Tom Skinner, of a young couple being swept towards the sea in storm-force winds at Porthleven who luckily survived to tell the tale. It was this photograph that sparked this special partnership.

“We first met Rex Features when Gretchen Viehmann visited the students in April this year,” said Course Leader, Mal Stone, who is himself an award-winning press photographer with many accolades to his name. “Gretchen was really impressed with the professional attitude of the students and the work they created, and began to discuss the possibility of a partnership that would be immensely beneficial to the students,” he added. “Falmouth’s Press Photography course aims to offer students the opportunity to work with industry experts on real-life assignments in real time, and our partnership with Rex Features demonstrates that at Falmouth we attract only the best.”

Gretchen Viehmann, who is Editor-in-Chief at Rex Features said: “We at Rex Features are excited to be able to forge this relationship with the Press Photography course at University College Falmouth, and its students, to help the next generation of press photographers enter the business world equipped to do their jobs with a competitive edge.”

Rex Features is a family-owned business that has an unequalled presence in the British press as well as in thousands of publications worldwide. Now in its sixth decade, Rex Features has a vast collection of images which is added to daily, from historical and breaking news to celebrity features.

University College Falmouth’s BA(Hons) Press Photography course is located in a bespoke two-storey Photography Centre that was designed in consultation with the industry. It includes hugely expanded digital and photographic facilities as well as specialist resources such as an electronic picture desk, all of which cements the College’s position as one of the top providers of photographic education in the UK.

For further information about BA(Hons) Press Photography at University College Falmouth, visit www.falmouth.ac.uk/pressphotography, email admissions@falmouth.ac.uk or telephone Admissions on 01326 213854.

For more information about Rex Features visit www.Rexfeatures.com, email enquiries@rexfeatures.com or telephone 0207 278 7294.

   It could be said that the calming, civil and proper mannerisms so readily attributed to the people of the British Isles arises from the descriptive terms of their representational language, and that the language itself helps humanity arrive close to (if not at) a common understanding of the world.

The cultivated patterns of thought wrought by the compartmentalized tenses and mental schematics inherent in the uses of the English language allows there to be an open ended form of culture to evolve across various cultures. 

       Of course, America took that and ran with it, sometimes to ends that baffle and amaze the rest of the world, yet it is the language which is the subtle catalyst for such practice as attempting to describe the world with accurate linguistic symbols.

     If it comes to language as the source of our communications, then what value is art?

That question was raised by others before me, and will most likely be asked and answered in some quasi-certain fashion fitting for the era in which the answer is given ad infinitum.

In that spirit, I call attention to two possible answers and dance, with the skill of my lexicon, about how promotion of artistic endeavors is the universal appeal of art, as this paragraph has interjected the notion with careful, open-ended, intention.

     If the arts were simple reflections of the world as viewed by the artist, then the art would mirror reality so closely that there would be little to no detectable difference between art and reality due to the perception of each viewer of the work differing from every other viewer. 

Once the recognition of reality is made, the placement of the artifice (the Art) itself, lends to reality a sheer notion of how reality should be (a correction of sorts) in the eyes of the artists as transmuted through his or her skills.

      The best rendition I can think of to illustrate this point is the wonderfully eccentric Hyper-Realist artist, J. Seward Johnson, who created many illustrious works and keeps running that 10 acre park in Hamilton, New Jersey called Grounds For Sculpture http://www.groundsforsculpture.org/c_jjohn.htm

    My favorite of his works, although there are many throughout the world, would have to be “Were You Invited?” based on Renoir’s “The Luncheon of the Boating Party.” The sculpture is a three dimension rendering of the scene depicted in the painting with the hilarious addition of four contemporary gentlemen behind the persons in the painting.  Seeing it is worth a trip across the Atlantic, and I recommend it for any artist and any lover of artistic works.

      Off the beaten path of the realm of the International Sculptors Center (www.sculpture.org) there are the grassroots artists that contend, with their own lives, that art needs to be created with more fervent reaction to the status quo; that the norms as we would like to believe them to be are much higher than the qualities of daily life that most people cope with. 

       In that realm we find artists who make use of the debris of society to create distorted reflections of the society in order to foster a correction of perception in others so that they may view our shared reality as the base of churning imagery meant to entrance and encapsulate the minds of persons comprising the culture.  Those artists do not play upon the classic and tradition forms of artistic expression, but rather inflict a reorganization of cultural images with the status of artistry, and thus compel their contemporaries to glance with an honest intention of awareness upon the world in which they exist.

   The best of such daring persons, in my humble opinion, to elucidate the meaning within the last paragraph is that multi-forum artist in NYC who weighs his life and time, energy and creativity against the immense tempest of mass media market culture, George Leutz (http://www.goddessdelirious.com )

   Be sure to click on the “art” link a take a look.  The twister board land mine piece started an interesting discourse in Trenton, New Jersey a couple of years ago, and the collages are displayed in various locations.

     So there.

Crafted with the expertise of a Bachelor of English, this post has relayed a couple of really good artists to you for your interest.  And, seeing as all people use a language of one kind or another, and that people like to communicate, it seems to me that it is the celebration through discussion of artists which is a universal quality of art; despite the symbols used, we all like to discuss the arrangers of those symbols.

All good things.

Jo

I made sure to put the reference photo I took of her, next to the pencil drawing. I always pencil in first to make sure my values are in proportion.
Also tried to make the penciling darker than I normally do, so it will be easier for you to see.

Here I am just starting on her eyes and the fur around them.
These are my favorite Pen and Ink tools. I am using my usual 140lb hot press watercolor paper in a 9″ by 12″ size this time. Pens I am using are the Copic Multiliner 0.03 and the Sakura Pigma micron .05. Also have my pencil and a high quality eraser to remove the pencil marks.
Bit more fur to the right side of her face and color to her nose.

A Bit more ink to the Cat. Have also decied to keep this just blk and white.

Here is more done on the Cat portrait. Did a little graphite around the right side of the Cats face,,so I can see where I placed the whiskers.

Darkened up the stripes and adding a bit more definition.
Filling in, working on the ears and the sofa she is sitting on.

Finally was able to work on the Cat this morning. Starting to come along now.
Using loose open pen strokes to keep the cat fur looking as real as possible.
For the Sofa I am using cross hatching.

I have darken the back of the sofa just a touch, to add a little depth to it. Have started working on her ruff and upper part of both of her front legs.
Still have the sofa arm to do on the right, to which I will just start off the lightest value I can at first.

Have been working on finishing the fur at the front of her chest and just starting the Arm on the Sofa. Would say about a day away from being finished.

For the Ink………..I use both ink & brush- India waterproof ink and Pens. The pens I prefer are the “Sakura’s Pigma Micron Pen” with permanent, waterproof, pigmented ink, in sizes 005 and 01 and for finer work, the “Copic Multiliner” 0.03 Pen.

The best watercolor pencils I have used to date are the “Derwent Watercolour Pencils“. Thay can be used dry or wet, on the paper or with a brush.

Paper is just important, maybe even more important than the mediums one uses. When I first started out, I used cold press watercolor paper which did not always hold up well. Then someone recommended to me to try a good quality Hot Press paper. Lets just say, I will never go back to cold press.

I found the best paper for the many layers of ink and watercolor pencil wash I do, is the ” Aquarello Fabriano Artistico” and I prefer their Bright White Watercolor Block. Is a nice smooth 140lb paper, that holds up very well and gives me no problems.

Have found many people become discouraged when the paper they use is not suited for the art they do. If you can, get the best qualtiy paper you can afford. I highly recommend Hot Press watercolor paper for this kind of medium useage.

For my Derwent pencil storage, I tossed the tins they came in and bought some nice pencils cases. Makes it so much easier to store and use.

Paint brushes..I use mostly sizes 00, 01, 02, 06. Believe or not my favorite brush is the one that came in the Derwent watercolor pencil set. Princeton’s are a cheap brush but hold up very well and are nice to use.

I have included some photos of my instruments of creating. In one photo you can see how I set up what I need, when I am actively painting.

If anyone has some favorites they like to paint with and why, please feel free to add a comment.

You can learn about Derwent Watercolor pencils, watercolor paper, and ink pens here.

http://www.pencils.co.uk/

Aquarello Fabriano Artistico watercolor paper

http://www.dickblick.com/zz101/44/

Sakura’s Pigma Micron Pen

http://www.sakuraofamerica.com/Pen-Archival

Copic Multiliner

http://www.fineartstore.com/Catalog/tabid/365/List/1/CategoryID/13848/Level/a/Default.aspx

Cases and Princeton brushes can be found at Dicl Blick and other fine Artist stores.

http://www.dickblick.com/

Today it is a “Work in Progress” of a Watercolor. Will start from the basic foundation drawing with the photograph, to the first washes of color.  Tips will be about watercolor paper and how to start a color board.

I am using “Aquarello Fabriano Artistico Bright White hot press Watercolor paper“, which is my favorite. It holds up very well to the many layers of wash I use.
For this painting I am using 12′ by 18″ sized paper. I have found this to be one of the best watercolor papers but you can use what ever you feel comfortable using. Use the best watercolor paper you can afford, you will be much happier with the results.

I am using Derwent watercolor pencils… used as watercolor and not a pencil if that makes any sense? I like the colors better than my tube watercolors. Again use any watercolor brand you favor.

Paint brushes..I use mostly sizes 00, 01, 02, 06. Believe or not my favorite brush is the one that came in the Derwent watercolor pencil set. Princeton’s are a cheap brush but hold up very well and are nice to use.I have very nice sable brushes and you can spend a lot of money on watercolor brushes but I find the Princeton’s are cheap, nicely made and hold up better than most Sable.

Here you see the photo I am working off of, another nice shot from Dawn Shaw at Lone Cedar Icelandic’s. This time I decided to just paint the horse, no rider.

I penciled this one a bit darker so hopefully you can see the basic drawing.  Take your time with this part, as you want to make sure your drawing is in scale with the photograph.
The first washes of color.. the sky, ground and start of a tree.
This time I decided to add texture to the ground and I found the best way to do this…is use a sea sponge.
Adding some more color to the ground and filling out the trees.

Yet more ground cover, start of the horse’s color in the first wash. Little more to the trees. This time I have decided to add a bit more detail to the trees but still keep them vague in the back ground.
More tree detail.
Again some more tree detail, bit more work on the ground and more washes on parts of the Icelandic.

Here I am working on a bit more shading and the Mane & Tail.

Just starting on the fencing in the background.
Yet more coloring in of the Mane, tail and parts of the Icelandic’s body. You can see that both the mane and tail are starting to look more full and lush.
More added to mane and tail, softening the back dirt area and starting on the grass base.

More color added too the mane, tail and body of the Icelandic. Fine tuning to the legs and hooves.
Even more color to the mane and legs..some body color added.
Also working on the railing and trees a bit more.
Am trying to keep this painting more “loose” in style, than my Pen & Inks with Watercolor pencil washes.
Just a bit over half way done!

Continued working on the trees and started with the rest of the fence, bit of work on the Icelandic’s tail.
Finished the fence, did more work on the trees, the dirt, Icelandic’s tail and some shading to the horses body. Thought I was nearly done but I see a couple of things after I took this photo, that I want to work on. Mainly the tree’s and the horse’s face. Also want to make sure I do not over work the painting.
Tip: If you want to work faster and need the watercolor layer you had just put on to dry quickly, you can use a blow drier on low or air and wave it quickly back and forth over your painting, making sure the paper does not get too hot.

The Watercolor painting, “Tolt in Motion”, is finally finished and properly scanned in. Will be offered for sale at these online stores, Red Bubble, Image Kind and Cafe Press.
Will also be offering signed prints, so please email for information about those.

I used to make these and they sold very well.

What you will need is….

Wooden toy Wheel
Dowels
ome kind of small saw
Marine grade wood glue
Sanding paper
a hook
Paint, brush and varnish if you want.

Go to any craft store and buy a wooden toy wheel, get the heavier wood if they have it.
Find a wooden dowel that will very snuggly fit into the Wooden wheel’s hole.
You will want about 8″ of dowel hanging out of the bottom of the Wheel.
Put glue on both the Dowel and the inside hole of the Wheel. Carefully push together until the Dowel is just above the wheel.
Wipe any excess glue from the Wheel and Dowel.
Let it set 24 to 48 hours.
Then sand the bit of dowel sticking out of the top of the Wheel until it is flush with the Wheel.
Mark where the center is.. this can be a bit tricky so take your time, as you want your Handspindle to whorl evenly.
On one side of the Wheel edge, mark an area with pencil to where you want to put a small and sanded indent. This way the wool has some place to sit.
Now sand the whole piece until smooth.
Wipe of any dust with a cloth.

Now you can either carefully put the hook in the top and call it good or Paint your spindle first.

If you paint your spindle, wait to put the hook in after the paint and varnish is on and totally dry.
You should be able to find the dent you made earlier.

This spindle is very cheap to make. Is not perfect but works well for the lighter weight fleece…and great for spinning lace weight yarn.

Here is a photo of them almost finished… painted and vanished..just have to put the hooks on.

Today it is a “Work in Progress” of a Watercolor. Will start from the basic foundation drawing with the photograph, to the first washes of color.  Tips will be about watercolor paper and how to start a color board.

I am using “Aquarello Fabriano Artistico Bright White hot press Watercolor paper“, which is my favorite. It holds up very well to the many layers of wash I use.
For this painting I am using 12′ by 18″ sized paper. I have found this to be one of the best watercolor papers but you can use what ever you feel comfortable using. Use the best watercolor paper you can afford, you will be much happier with the results.

I am using Derwent watercolor pencils… used as watercolor and not a pencil if that makes any sense? I like the colors better than my tube watercolors. Again use any watercolor brand you favor.

Paint brushes..I use mostly sizes 00, 01, 02, 06. Believe or not my favorite brush is the one that came in the Derwent watercolor pencil set. Princeton’s are a cheap brush but hold up very well and are nice to use.I have very nice sable brushes and you can spend a lot of money on watercolor brushes but I find the Princeton’s are cheap, nicely made and hold up better than most Sable.

Finally decided what I was going to paint next. Not that it is hard to imagine what I might do for this painting. A good friend Dawn Shaw, has kindly let me use her photographs for my paintings, which is great because I am not going to make it to any of the Icelandic horse shows this year.

This is of a Chestnut Stallion in “Extended Trot”. Most people are only interested in paintings of Icelandic’s Tolting but this photo has so much movement to it, I just had to make it into a painting.

Right now I am working on the undercolor or highlights, if you will. I am only using Watercolor at this point but might add ink later on in this painting. Is a little different style than I have been doing the last year or so.
By the time this painting is done, I will have applied between 15 and 30 layers of color to get the effect I am looking for.
Am doing the first layer now.

Lightly penciled in and shows the copy of the photo I am using.
Bit of the bright yellow in the tail, color to the back leg and ground near the horse.
Working on the head and neck a bit, using a Natural earth pigmented watercolor.
More of the body and areas to leave for highlights.

More to come.

Here I am adding the railing that runs around the Track and a bit more highlight to the horse.
Adding some stylized trees and more highlights.
Bit of sky
More color to the background.
More done to the horse, mane, trees and sky. Pretty sure I am going to keep this painting Watercolor only, and in a loose abstract style. Something a bit different than my heavily detailed Pen & Ink w/watercolor pencil wash.

Here you see more shading in the trees, mid ground, horse’s tail and so on.
More shading in the body of the Icelandic and some helmet color.

More body color going on and started the darker shading around the Icelandic’s face and upper neck. Is hard to see but some of the shading for her very blond hair is going in. Bridle is being worked on also.

Have added more color and shading to the Icelandic’s body and hooves.

Here I have added to layers of color to the shirt and more detail to the bridle.
Adding a couple of layers of color to her pants and more detail to the horse’s tail.
Shading started around her pant legs and saddle. More work done to the Icelandic’s mane.

Here you can see the saddle color just starting to go on, more shading on the horse, the start of her shoe on the other side of the Icelandic. Also added flesh color base to her face and arm. Helmet harness color starting to go in and the horse’s bit is almost completed.

Have started on the riders head and arms. Adding more color to the shirt, saddle and a bit more color to the horse.
Added gloves, more folds in the riders shirt and more shading.
Tip: I find it very helpful to make up a color board. This way you have a quick and easy way to see what the colors look like on the paper you are using.

Have done more work on the saddle and the far boot of the rider. More colors on the Icelandic.
Working with the riders hair has become a challenge. Because her hair is so light, if I paint it just like the photo, no one could see it. So I have taken the liberty to darken it a bit. Also working more on her helmet and pants.

Here I have finished the riders pants, shoes and stirrups.

Fine tuning the shading and pushed back,,via a fog like mist, the Trees.

This is the Finished painting. I wanted to try a more loose style than I normally do. If you are interested in this piece or to see what I have been painting visit me at..
http://inkbrushcreations.blogspot.com/

Sotheby’s Institute of Art - London offers a number of day, week and evening courses throughout the year.

These courses are for those who have an active interest in art but limited time. Led by the Institutes faculty and leading practitioners in the field, these short courses run over a series of evening lectures, several days or one/two-week series and focus on Art Business, Contemporary Art, Fine & Decorative Arts and Asian Art.

One-week Courses:
Introduction to Asian Art: 14 - 18 July, 2008
Contemporary Asian Art: 21 - 25 July, 2008

To find out more about our Short Courses and to book a place, please contact Gillian McIlwaine, Tel. +44 (0)20 7462 2490 or g.mcilwaine@sothebysinstitute.com

Download Booking Form.

OK, who loves me enough to send me on one of these courses?

Ah Haa School

This once-in-a lifetime exhibition offers a chance to observe a moment of history.

About Gandhi: Mahatma Gandhi has inspired many of the world’s greatest political leaders and freedom fighters, including Martin Luther King, Nelson Mandela and Abdul Gafar Khan who fought for equality following his dictums of ‘Ahimsa’ – non-violence and ‘Satyagraha’ - ‘clinging to truth’. His sterling words of pacifism ring clear today: “There are many causes that I am prepared to die for but no causes that I am prepared to kill for.” Gandhi dedicated his life to the wider purpose of discovering truth, or Satya, and his pleas for peace inspired future international icons like John Lennon.About Tamarind Arts Council:
Tamarind Arts Council, (TAC), is a non-profit organization, dedicated to promoting and creating awareness for all art forms of Indian influence in North America, and helping in their exhibition, performance, creation, and promotion. Our focus is to support all types of artistic expression, including performing arts and fine arts inspired by the arts of India and to sponsor art-related activities and cross-cultural events. We are dedicated to fulfill our mission of encouraging and showcasing Indian artists and performers, and provide fellowship for those whose interest lies in the Indian arts. Our goals include co-sponsoring museum exhibitions and events that are related to Indian culture and arts, and promoting Indian arts in various institutions throughout America. We have also established programs to art schools in India so they can maintain and improve art universities and created a medium for exchanging information between all art forms between India and United States.

Exhibition opens to the public 10th of April and runs through 3rd of May.

Opening reception: 9th of April 2008 6:30 to 8:00 pm. RSVP - rsvp@tamarindart.com

For more information, please contact Tamarind Arts Council at (212) 200-8000 or email admin@tamarindarts.org or visit our website at www.tamarindarts.org. Our hours are: Tuesday – Friday, 11:00 am to 6:00 pm; Saturday, noon to 6:00 pm.