There are lots of people love to have some canvas artworks on the walls of living room, bedroom, dinning room and many other rooms.
Many people prefer large canvas art which can cover wide area and also enhance the overall look the room. These large canvas art just like an icing on the cake because they help to increase the serenity of the room and also bring beauty and color to room.
There different styles canvas art in the market in different sizes. It canvas wall art is placed on the right wall, it can immediately make the room live.
Sometimes, 3 panel artlooks very good on the wall or sometimes circular canvas. It is all subject to the styles of room and wall. There are some rooms whose ceiling is not height. While some others may be higher, so it all depends on the type of room and its measurements.
Before choosing canvas art for your room, make sure you did some research, take colors of your wall and furniture into consideration. Now we can get right size for our room very convenient by the advanced technology. Sometimes it used to happen that canvas art sets suit the wall well, but the size is too large. So people have to look for some other wall art.
But nowadays, customers can customize the sizes according to the measurements of their wall. There are also many people trying to do some drawing or painting. In this way, they can feel they have their own canvas art for home. This is one of the best method as in this one can choose kind of painting or scenery to be drawn which will suit the wall. Also now one can easily decide the measurements of the canvas painting and make it suitable according to the wall where it has to be placed.
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There were numerous paintings are made use of an everyday basis however there are just a few that will produce perceptions in our spirit. The artists are so skilled that they can show the feelings of the whole world in one photo. The only thing you need to do is to analyze and feel the perceptions of the paintings. There are numerous paintings are drawn in the globe that is seriously well-known as well as became famous throughout the globe. Paintings are being drawn given that the old time and also it is still unexplored exactly how individuals are drawings such paintings so perfectly though they don’t have suitable tools at that time.
Our group of art aficionados have identified a collection of famous paintings in the world that have actually had the optimum imaginative effect as well as recognition. This list makes up jobs by a wonderful several famous musicians that are currently housed in the several of the world’s finest museums. Yet, recognizing that assessment of art is entirely subjective, it is understandable that couple of will not concur completely with the components of the listing. Rest assured that the listing of leading 100 masterpieces is just a recognition of the immense payment of the musicians who have made them so unforgettable.
This universe is full of art and ideas, that is what everybody can see, however it takes a truly talented and visionary musician to select paint as well as brush as well as show their thoughts, visions as well as this lovely world right into paintings.
Paintings are not simply art pieces that are excellent to consider, a paint causes a feeling from within– paintings are emotions poured out from the soul of a musician and it’s suggested to touch the customers at the precise same place where it originated from.
There are several musicians who have actually left their tradition behind, they were stressed regarding what they did as well as produced their artworks that the world will remain to keep in mind for generations to find.
Below is the list of 100 most famous paintings in the world:
1. Mona Lisa by Da vinci
2. The Starry Night by Van Gogh
3. The Scream by Edvard Munch
4. The Night Watch by Rembrandt
5. The Kiss by Gustav Klimt
6. The Arnolfini Portrait by Jan van Eyck
7. The Girl With A Pearl Earring by Jan Vermeer
8. Impression, Sunrise by Claude Money
9. Las Meninas by Diego Velazquez
10. The Creation Of Adam by Michelangelo
11. Luncheon Of The Boating Party by Pierre-Auguste Renoir
12. The Grand Odalisque by Jean Auguste Dominique Ingres
13. The Swing by Jean-Honore Fragonard
14. The Liberty Leading The People by Eugene Delacroix
15. The Birth Of Venus by Sandro Botticelli
16. Napoleon Crossing The Alps by Jacques-Louis David
17. Musicians by Caravaggio
18. American Gothic by Grant Wood
19. Sunday Afternoon On The Island Of La Grande Jatte by Georges Seurat
20. The Sleeping Gypsy by Henri Rousseau
21. The Triumph Of Galatea by Raphael
22. The Gleaners by Jean-Francois Millet
23. Primavera by Sandro Botticelli
24. The Third Of May 1808 by Francisco Goya
25. Charles I In Three Positions by Anthony van Dyck
26. The Wanderer Above The Sea Of Fog by Caspar David Friedrich
27. Olympia by Edouard Manet
28. The Tower Of Babel by Pieter Bruegel the Elder
29. View Of Toledo by El Greco
30. A Cotton Office In New Orleans by Edgar Degas
31. Bacchus And Ariadne by Titian
32. The Sleepers by Gustave Courbet
33. The Gross Clinic by Thomas Eakins
34. The Ninth Wave by Ivan Aivazovsky
35. The Last Supper by Leonardo Da Vinci
36. St. George And The Dragon by Paolo Uccello
37. Mr And Mrs Robert Andrews by Thomas Gainsborough
38. Pollice Verso by Jean-Leon Gerome
39. Pilgrimage To Cythera by Antoine Watteau
40. Large Bathers by Paul Cezanne
41. The Astronomer by Johannes Vermeer
42. Wave by William-Adolphe Bouguereau
43. The Fall Of The Damned by Peter Paul Rubens
44. A Bar At The Folies Bergere by Edouard Manet
45. The Storm On The Sea Of Galilee by Rembrandt
46. The Laughing Cavalier by Frans Hals
47. Paris Street In Rainy Weather by Gustave Caillebotte
48. Foxes by Franz Marc
49. The Lady With The Ermine by Leonardo Da Vinci
50. Watson And The Shark by John Singleton Copley
51. The Ladies Waldegrave by Joshua Reynolds
52. Whistler’s Mother by James Abbott McNeill Whistler
53. Dance At The Moulin De La Galette by Pierre-Auguste Renoir
54. Breezing Up by Winslow Homer
55. The Great Wave Off Kanagawa by Katsushika Hokusai
56. Large Seated Nude by Amedeo Modigliani
57. Stag Night At Sharkeys by George Bellows
58. The Night Cafe by Van Gogh
59. The Avenue In The Rain by Childe Hassam
60. Annunciation by Leonardo Da Vinci
61. The Ambassadors by Hans Holbein the Younger
62. Flaming June by Frederic Leighton
63. Susanna And The Elders by Artemisia Gentileschi
64. Composition VIII by Wassily Kandinsky
65. The Oath Of Horatii by Jacques-Louis David
66. A Friend In Need by Cassius Marcellus Coolidge
67. Dante And Virgil In Hell by William-Adolphe Bouguereau
68. Saturn Devouring His Son by Francisco Goya
69. Battle Of Issus by Albrecht Altdorfer
70. The Potato Eaters by Van Gogh
71. The Birth Of Venus by Alexandre Cabanel
72. Mars And Venus Allegory Of Peace by Louis-Jean-Francois Lagrenee
73. Red Balloon by Paul Klee
74. The Lady Of Shalott by John William Waterhouse
75. Portrait Of A Gentleman Skating by Gilbert Stuart
76. The Hay Wain by John Constable
77. The Boat Trip by Mary Cassatt
78. Sleeping Venus by Titian
79. Adoration Of The Magi by Gentile da Fabriano
80. Portrait Of A Young Man by Raphael
81. Boulevard Montmartre Spring by Camille Pissarro
82. The Wedding At Cana by Paolo Veronese
83. The Anatomy Lesson Of Dr. Nicolaes Tulp by Rembrandt
84. The Raft Of The Medusa by Theodore Gericault
85. The Kiss by Francesco Hayez
86. The Bath by Jean-Leon Gerome
87. Fort Vimieux by Joseph Mallord William Turner
88. The Japanese Bridge by Claude Monet
89. Washington Crossing The Delaware by Emanuel Gottlieb Leutze
90. The Garden Of Earthly Delights by Hieronymus Bosch
91. Supper At Emmaus by Caravaggio
92. Feast Of The Rosary by Albrecht Durer
93. The Hireling Shepherd by William Holman Hunt
94. Hunters In The Snow by Pieter Bruegel the Elder
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Today, I’m gonna be showing you how I make a charcoal drawing of this super hot guy. I love to teach drawing and mixed media projects to beginner and really artists of all levels. Now I actually have posted this. This is one of the very first projects I posted on my channel, but it was so many years ago that no one has seen it really.
So I wanted to take this old footage, and it’s the perfect timing to showcase this project because my new book on drawing and finding your style is coming out, oh, hopefully in the next month or so. So, stay tuned for information about that. But what is so great about this project is that it really shows the versatility of using charcoal. So when you’re doing super realistic faces, it’s so important not to show any hard lines. We don’t have lines that outline our faces. You can see here the outline. You just have a series of highlights and shadows and you’re gonna learn all about this in my new book and how to take photo references and interpret the shading and highlights so that when you’re drawing you can actually take all that information and plug it into your drawing to make super realistic pieces.
So what’s cool about charcoal is that it’s so smudgy and loose, and if you notice there, the text that came up on the screen was super fast, but I actually stuff a sock with loose charcoal and I pat it around the area to make the general regions that are light and dark. So, in this way, you’re automatically avoiding those harsh lines that can sometimes (laughs), I was talking to you, that sometimes show up when you’re using an instrument like the one I’m using now which is just a good charcoal pencil. So if you’re just using charcoal like that, or a pencil or graphic pencil, you’re getting these harsh lines that do not exist in reality. And so what’s awesome about charcoal, or using really soft graphite and a blending stump, is that you’re just getting those gradations of shadows which is what you need to use to create to make a super realistic face or just a face, it doesn’t have to even be realistic, that has a lot of dimensional.
So you’re taking your 2D paper and object and really transforming it into a three dimensional looking face. So you can see the nose is coming forward towards you and you can see the cheekbones and how chiseled they are. And the ears are these folds that undulate in and around, and all that is is a manipulation of lights and shadows and putting them in the right place. That’s all that is. And drawing realistically is so much more about using the information that you’re looking at and staring at in your reference and recreating that accurately on your paper.
It’s not so much knowing where the features go, although obviously that helps. It is literally about your observational skills and really seeing on your photographic reference what is where and going from one spot around the face slowly, slowly starting wherever you want, that’s not even important, and just interpreting and recreating the darkest darks, the medium tones, and the light. And trying to capture that all. It’s such a different skill than just simply building a face that’s realistic. It’s all lights and shadows. So you really spend most of your time, you’re drawing this way, staring down your reference and really (laughs) oh, I’m just waving to you with my yucky fingers, really just trying to interpret how light is that light and having your value scale. And I’ll put a card, I’ll link to another video that I put about value scale, and using the entire breadth of your value scale.
So you wanna make sure you have the blackest blacks in your drawing and you wanna make sure you’re using all the gray tones, all the way up to your whitest whites. And so using the entire value scale, it gives your drawings the maximum punch. Really, really powerful. And it’s super easy because all you really need is a good eraser. So right now, I’m erasing this charcoal out to create the highlights on his nose, and the lip shine, and all of the little in between places.
And the reason that charcoal is so fantastic, as you can see right there, all you need is some charcoal and your finger. You can do all of this blending with a finger. You don’t need any fancy tools. And I’m using different hardnesses of charcoal to get the different effects. So the charcoal that I’m using right now for the details around his eyes is a little bit harder than the charcoal that’s in the sock, which is super loose charcoal.
So that is something that I’m varying. And then I’m using my blending stump to smudge that around. And then the last tool I’m using is that charcoal pencil. So that’s the hardest of them and obviously it comes to a small tip so that’s ideal for doing details and stuff like that. But it’s just really crazy what you can create with a very, very limited number of supplies. So I challenge you to maybe go to your local art store and pick up a couple pieces of charcoal in varying softnesses. And you can also see that I’m using a little bit of a paint pen as a cheat for the whites in the eyes. That’s just me resorting to my typical mixed media supplies. I am a mixed media artist so I tend to do lots of cheats. You may consider it cheat, I consider it just being efficient. (laughs) So, if you want extra sparkle or extra white, you can always add, use your tools that are in your tool box to make that effective.
So yeah, I challenge you to go to Paintmyphotos gallery. Grab a couple shards of charcoal portraits and see if you can grab a reference that you like. Working with a black and white reference is easiest because you’re literally just looking at the lights and the darks. And see if you can recreate it using the different values in the value scale. So black all the way up to white and everything in between. You can get a couple blending stumps to help you with blending. And you need a really good gum eraser.
You see right now with his ear, I’m carving out the highlights in the ear folds, and then I’m putting back in the darkness, and I’m using my blending stick to get that definition. So if you do this project, let me know in the comment section or if you have a favorite charcoal technique, drop it below in the comment section as well. I will post a playlist for you if you wanna learn more realistic drawing hacks. And don’t forget to subscribe to get my free weekly tutorials in both drawing and mixed media.
Expense of a painting relies on the size and number of people to be painted. A huge canvas will definitely cost more than a small canvas. A four person family portrait will definitely cost more than a two person portrait.
Plenty of people realize the significance of an entirely customized art work and portrait. They are aware of how a must have it is to present some other person or yourself a gift which will last not just a long time, but a lifetime and beyond. Whatever the reason for thinking of commissioning a custom portrait, you’ve probably considered how much it can cost you financially.
Paint My Photos has been in custom portrait business since 2002 and we are artists based company, which means you buy direct from artists. Order from us can save you at least 50% of the cost. Trust me, you don’t deserve to pay that much money. Moreover, you don’t need to worry about the quality, paintings are done by professional portrait artists, our artist team is a secret source behind many top art galleries. They commission art from us and sell thousands dollars.
How Much Does A Portrait Painting Cost
This question is asked time and time again throughout the internet as it’s a critical one.
Here is a price list from Paint My Photos:
How much does a custom made family portrait cost?
Cost of a painting or a portrait largely depends on the reputation of the artisan as well as the quality of his work. So, offering an exact quote is complicated. However, you can go with online services like Paintmyphotos.net, which takes your digital photos and transforms it into a hand-painted portrait depending on your specifications. It’s a reasonable price service, particularly if you compare with traditional artists. Furthermore, it is hassle-free, high-quality and the portrait is delivered right at your doorsteps.
Once considered a relic in the photography era, the art of portrait painting is building a comeback think of it as a selfie that takes weeks to complete.
Charged Hearts, a new media work by Ottawa artist Catherine Richards, uses the heart’s iconic status to materialize the waves and particles that produce electromagnetic currents – the physical but unseen substrata of the electronic age. The choice is apt, for the heart is both a metaphor for passion and the emotions and one of the most well-known parts of the body’s electromagnetic fields.
An ambitious and brilliantly conceived project bringing together a variety of scientists and technicians under the direction of the artist, Charged Hearts exists both as a gallery-based installation and a Web site game. Richards traces the interconnections of electromagnetic impulses as they occur within three systems: the weather, the body, and the new virtual worlds commonly known as cyberspace. These premises are embedded materially in three key objects. First, the Terrella, a nineteenth-century artifact first used in experiments to replicate the patterns created by the Northern lights. Second, in the anatomically correct glass hearts that glow with a gas plasma triggered by the electrical activity of charged ions. Thirdly, in a computer printer, which stands to the side of the piece but connects the installation to the World Wide Web.
The luminously charged gases in the Terrella and the hearts sit on separate raised podiums atop a Plexiglas tier. On the centre podium raised slightly higher than the two stands flanking it, is a glass cube containing the Terrella tube, sparkling with a bluish light in its simulation of the earth’s north and south magnetic pole. Technically it is the Terrella that produces the electrical charge that connects the two hearts. Located on separate platforms to the right and left of the centre podium, these hearts are in bell jars inside glass cases. The cases are open to one side so that hands may enter and hold the jars containing the hearts. Slightly larger than life, these hearts emit a pinkish purple glow when the fluorescent powders on their inside surface are bombarded with electrons.
Picking up the glass heart triggers changes in both the Terrella and in the hearts. The heart in the jar seems to pulsate in the hands, its light intensifying, weakening, moving with every torque of your wrist. There are no wires connecting the hearts to the Terrella, only a coil of copper wire on the bottom of the jars. Yet, by picking up the heart in a jar, you become a part of this loop connecting body to glass heart to Terrella – and finally of course to the Web site. If there is another participant touching the other heart, you enter into the circuit together. The interactivity is oblique and somewhat organic because there is, intentionally, no clear indication of the causal lines connecting one thing to another. In this way, the installation challenges push-button notions of interactivity, which place the user in a privileged and fictive site of agency. In Charged Hearts our bodies, like our subjectivities, are caught in a matrix of coterminous interacting elements.
Because the hearts are handheld objects Charged Hearts has a tactility that is both pleasurable and carries with it real risks. Dropping the hearts may cause them to explode into pieces. Because of the materiality of the objects, oddly cold and clinical despite the glow, the installation falls within the tradition of other media works that come out of sculpturally-based electronic arts, such as Norman White’s Hapless Robot. Giving the user the “smart card,” in reality a piece of cardboard, with your own “personalized access code,” both allows the user access to the Web site and pokes fun at the interactive promises of cyberspace, asking again, “Who is in control?” By stepping on the platform and partaking, your presence is registered – a reminder of the potential power of these systems to monitor the movements of citizens and consumers with every swipe of a charge card.
Likewise, Charged Hearts, the Web site (http://charged-hearts.net) is no ordinary game. Developed in collaboration with Martin Snelgrove, a computer programmer, it eschews conventional video game formats, which are mostly competitive in nature. However, it does share one feature – at its locus it is a game of survival. Created from a scanned medical image of the top valve of the heart, this pumping, pulsating little miniature greets you when you log in. You are asked to name your heart, and you are given a statistical readout on its condition. The game is not to win points but to keep your heart alive, an avatar for your very self, which you can only do by moving it around the screen and bringing it into proximity to other hearts. No heart stands alone – literally. You must request that other “hearts” come into your sphere in this virtual space, itself a simulation of the complexities of love and other forms of social interaction. Their presence may assist you, boost you, or damage you depending on the rate of their own activity, and the cumulative effect of all of the hearts gathered together. The only other way to rescue an ailing virtual heart is to recharge yourself at the gallery site, a ploy which indicates the artist’s own proclivity for the physical over the virtual.
In this concern with life, death and survival in the late twentieth century, Charged Hearts is the successful alter ego of Richard’s last major piece, Curiosity Cabinet at the End of the Millennium (1995). In Curiosity Cabinet, the spectator entered into a gigantic copper cage in an attempt to insulate the self from the cumulative charge of our present electromagnetic field. In so doing the spectator became an object on display, much like a museum piece or a curio in a nineteenth-century cabinet. Curiosity Cabinet explores the luxury of escape and the nostalgic fantasy that we can isolate and protect ourselves. In contrast Charged Hearts highlights the pleasures and dangers of life in the midst of these very real, yet invisible fields interrogating the consequences of living in an environment thoroughly penetrated by electronic gadgets. You would never consider sticking your finger in an electrical socket. Richard’s installation suggests that this is exactly our present condition. The move to more “wireless connections” only masks this environmental shift. Charged Hearts plugs us in, traces our movements, and compels us to consider our future survival within this technologically saturated life-world.
Garden of Nirvana equates women and flowers, with odour being the experiential link. Steele cites the writer Octave Uzanne, who compared a woman in lingerie to a flower, “whose innumerable petals become more and more beautiful and delicate as you reach the sweet depths of the innermost petals. She is like a rare orchid, who surrenders the fragrance of her mysteries only in the intimacies of love” (p. 117). Interest in the “fragrant mysteries” associated with women’s clothing is classically known as “perversion” in the sexology and psychoanalytic literature. Freud, for instance, conceded the vital connection between sexuality and olfaction in the animal kingdom, yet relegated it to an inconsequential status in humans. In the evolutionary scheme of development, humankind had risen up onto two legs, thus diminishing the role of smell; to link sex and smell again carries with it the danger of regression, of the re-emergence of the animal, in short, the threat of psychosis or neurosis. (5) Neglecting to distinguish between the proper objects of disgust and desire elicits condemning nomenclatures such as infantilism and coprophilia. Yet, as Steele and others have argued, defining conclusively what constitutes “normal” and “deviant” behaviour is an impossible task, one hopelessly compromised by ideological and other biases. Not the least of which is the sexist rhetoric used to situate and enforce gender relations: women who fail to live up to the fragrant mystery of Uzanne “are traitors to the ideal of femininity and objects of disgust.”
Historian Alain Corbin traces the contemporary intolerance towards odour back to the Enlightenment and the development of an “olfactory vigilance” in regards to bodily emanations and civic space. The project of modernity has also involved a rationalization of the senses, according to Constance Classen, David Howes and Anthony Synnott, in which vision was prioritized to such a degree that “olfactory silence” was a direct outcome. The conflation of desire and disgust promulgated in Garden of Nirvana thus taps into two centuries of odour anxiety, both in the personal and public realms. Hirakawa violates not only the assumed predominance of the visual in the ideology of the gallery, but also one’s sense of private space and identity. The enforced intimacy is confrontational – the odour is unavoidable, one cannot help but to breathe it in. In some ways the piece positions itself as a litmus test of sensitivity and sensibility: How quickly does one react? Is it prudishly or pruriently? A decision based on instinct or intellect? Regardless of the response, odour is the key element in confusing the segregated domains of the biological and the social, the sensory and the semiotic.
Besides the allusions to fetishism, one might also be inclined to reflect upon Garden of Nirvana in the context of Buddhist practices. Does the installation trivialize nirvana as a ribald “heaven” of “getting-into-women’s-pants” or does it have more subtle implications? Nirvana describes the state of final emancipation, a state beyond attachment. Literally the term means “blown out,” a combination of the Sanskrit “van” (to breathe or blow), with “nir” (the negation). It encompasses a blissful experience of knowing the absolute, which is distinct from quotidian consciousness, yet undefinable. Being “blown away” thus evokes the obliviousness of care, induced by intoxication, joy or ecstasy of the state of nirvana.
Relevant to this installation are Buddhist spiritual practices that have deployed the outrageous to collapse dualist distinctions between the sacred and profane. A popular Zen story illustrates a method of seeking enlightenment in the most repugnant of objects: when a master was asked “What is the Buddha?,” he answered “That pile of shit in the courtyard.” There is a tradition within Buddhism of meditation on what is “disgusting” – corpses, skulls or feces – in order to cultivate dispassion. Yet at the same time, nirvana, in Tantric and Zen traditions, can be found both through the deliberate heightening of the senses as well as through the ascetic control of them. In bringing the focus to what is conventionally “disgusting,” Garden of Nirvana can be contemplated as a clash of tasteful and distasteful objects, ugly and beautiful experiences, desirable and repulsive sensations. The Buddha, reputedly, never articulated what nirvana was, only what it was not. Both underwear (by being concealed) and odour (by its ethereality) are provocative metaphors for the state of nirvana, which exists everywhere yet is invisible. Scent thus constitutes an intense sensory presence that circumvents iconographic prohibitions within Buddhist tradition.
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Do you really love Francoise Nielly’s paintings? Do you desire to buy a portrait painting produced by artist? I am not sure if Francoise consider commission job? But in the case she do, i bet the cost are going to be very expensive as most of her artworks are selling $10,000 to $30,000. That being said, pretty much, it is almost not possible to let Francoise Nielly paint your portrait, though, guess what, our talented artists can! We can paint your photo the same as Francoise Nielly do!
Francoise Nielly is undoubtedly an artist seen as an complicated and complicated techniques making charming and crucial energy and strength.
In Francoise Nielly’s work, she doesn’t use any modern technology and employs only oil along with palette knife. The shades are occupying roughly on the canvas and become a highly highly-effective work. Her portraits encapsulate strength of tone as a unusual method of seeing life. The belief and form are simply starting factors.
Francoise draws lines to find natural splendor, emotion, while keeping focused of memories. Each portrait brings together a sense of delight and sadness. Whenever we discover this kind of sensuous, expressive and overwhelming drawing, we understand that attention can touch deeply in a look, from a gesture, in position that becomes ones methods for being. The shades are why Nielly’s paintings so realistic and natural and it is impossible not to love her subjects. Plenty of can be the inspirations, which in turn dance inside of these types of sensibility, and most is usually the interpretations which may be shown. ?Have you wondered yourselves how vital it may be to have shades? Have you ever thought of how important it will be to manage such type of colors?
Nielly displays a protective exploration toward touch and results in being an instinctive and wild goal of expressions. In the event you close your eyes, you wouldn’t normally expect a face, having colors, however if you simply give it some thought thoroughly, everything acquires a form by means of our needs and desires. The most troubled soul could have colors, which might be unseen but always alive. Lots of individuals consider that in a portrait, there’s always a equilibrium that runs away, however in my estimation, every symbolism is imprinted in their face. Eyes come across sins and passion, a smile opens peace as well as a decisive lie, and dazzling colorings reflect options without so much movement.
In her own way, Francoise Nielly gives an individual’s face in each of his works of art. And then she paints it again and again, with slashes of paint all-around their face. Moments of life that come up from her works are born by a clinch with the canvas. Color choice is formed just like a projectile.
Works of art by creator Franoise Nielly have a very good discernible strength that originate right from each composition. Having acquired palette knife art techniques, the artist uses thick strokes of oil on canvas to blend a unique abstraction in to these figurative portraits. The paintings, which have been based off relatively easy black or white photos, feature excessive light, shadow, detail, and dynamic neon colors. As per her biography on Behance, Nielly usually takes a risk: her artwork is sexual, her shades free, exuberant, stunning, also beyond expectations, the cut of her knife incisive, her colors pallete incredible.
A major difficulty of rhetorical-design analysis is the determination of the actual effects of design artifacts. What defines the effects of a poster, signpost, book cover, or business card? How can the effects of designed objects be described and categorized? Can the effects found in particular objects be generalized? Are there any experts for defining design effects? The determination of effects is crucial for the formulation of design rules and, fundamentally, for a rhetorical understanding of design. There is no straightforward method, given that the visual effects of design objects are manifold and highly context-sensitive.
Materially, the visual impression of an object varies according to perspective, light conditions, or position. Even more obvious are the subjective factors causing an indeterminacy of effect. How a designed object affects a viewer depends on her taste, interests, and values, on her actual disposition and needs as well as on her previous knowledge and experience. Furthermore, the socio-cultural and historical context affects people’s perception and interpretation of such elements as color, textures, and motifs. Visual trends, zeitgeist and technological developments (for example, printing press, photocopy, desktop publishing) lead to changes in visual perception and the impacts design artifacts can have. While some of the design effects are fairly constant over time and cultures, most are informed by fashion and other socio-cultural influences and will, sooner or later, be modified. What used to provoke or even shock people (for example, because it appeared pornographic or brutal) can be attenuated by habituation or a change in moral standards. Images that used to convey severity or heroism might appear awkward or exaggerated now, and what looks modern today is likely to assume an old-fashioned or nostalgic touch in the near future. The more enduring effects are presumably based in the human cognitive system and can perhaps be explained with the physiology and psychology of perception or through evolutionary biology. Darkness and the color black may always and everywhere have had a frightening effect on human beings. This unsettling effect of dark designs could perhaps be traced back to the fact that human beings are not able to orientate in darkness, which–from an evolutionary perspective–is a disadvantage. That neon colors can be used as an eye catcher or in order to warn people could be explained by the fact that the human visual apparatus is particularly sensitive to them and because we were first confronted with their warning function in conjunction with poisonous animals and plants.
The calming effect of a design in panorama format possibly originates in the imitation of an open landscape in which, according to Savanna Theory (Lidwell et al. 2003), human beings feel safe, calm, and comfortable, since here possible dangers can easily be surveyed. The question of why human observers are affected in one way or another by certain visual features is not the object of visual or design rhetoric. For the observer–as well as for the designer as practitioner–it is important to know which stylistic means are required in order to create specific effects, but not to provide explanations for the underlying modes of perception. Design rhetoric is interested in the relation between a design effect and the specific design features related to it–regardless of whether the means-effect relation is universal or context-sensitive. In the section on pinning down design rules, more will be said about the relation between formal means and effect, which can be paired in a design rule.