By Marty Noble
Книга для раскрашивания, содержащая 30 африканских орнаментов. Все изображения взяты с настоящих изделий народов Африки: тканей, ковров, дверных панелей, головных уборов, пещерных рисунков и т.п. Издание предназначено для любителей раскрашивания всех возрастов, но будет также полезно художникам, дизайнерам и ремесленникам, интересующимся африканским искусством.A dynamic and expressive style, African artwork has had an incredible impression on modern paintings and designs. The 30 huge, ready-to-color illustrations during this assortment - all tailored from conventional African designs - replicate the continent#96;s wealthy inventive and cultural heritage.Carefully rendered from real artifacts are are a Moorish cloth trend, an Ashanti carved door panel, a Malian wood headdress within the type of an antilope, an Ethiopian pass, a South African cave portray, a Tunision carpet layout, and different motifs.The fascinating designs, with their strange characteristics and local features, will pride folks paintings lovers and coloring ebook lovers of every age. The daring renderings also will entice photograph artists, designers, and craftworkers.
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Extra info for African Designs. Coloring Book
We share laughs, maybe food, and communicate through art. George Allen Durkee A longtime painter of San Francisco's cityscapes, Durkee sought new artistic stomping grounds when he headed for Northern California nearly a decade ago and switched his focus to landscapes. “I read somewhere that an artist ought to risk his career about every two years just as a way of keeping his work fresh,” he has explained. “Well, it was time. ” A contributing writer for THE ARTIST'S MAGAZINE and AMERICAN ARTIST, Durkee is also the author of EXPRESSIVE OIL PAINTING: AN OPEN AIR APPROACH TO CREATIVE LANDSCAPES.
What happens when I work later indoors with large oils is that the photographs taken and sketches and studies done just excite me. They don't give me all the information I need. A lot of the information that comes into my paintings was already a part of me, and that has a lot to do with the sketching and studies outdoors. The difference between sketching and painting is the sketch actually gives me the essence of what I was touched by, and I don't care about the rest of the picture. If I get involved with a painting instead of a sketch, then the subject and the light that attracted me becomes involved with the entire world that it sits in, and that calls for a lot of other types of thinking and searching longer hours.
But I have to consider, apart from the merits of any finished work, that the process of drawing, the activity itself, is revealing and enlightening to me. It is rare that anyone sees my sketches or drawings. I don't usually mean for anyone to see them; they are usually only meant to be done. Considering this, I should think that drawing is always freeing, uninhibited and unconstrained. But, unfortunately, I usually fret over even the littlest sketch, judging it as harshly as any finished painting — embarrassed if anyone should see its flaws.