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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Your most treasured image can be turned into an oil painting portrait on canvas which not only brings a memory back to life but probably become a treasured heirloom of the long run for you and your family. It’s so easy – you send us your favorite photograph and one of our artists will reproduce it in oils to a standard of reproduction which can be guaranteed to delight you.
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.
In the event you curious enough to present custom-made oil painting to one of your close associates then it’s good to go on the internet and locate a best artist in the market. You may as well select artisans online to create custom-made art pieces and they will deliver it to your door in 7 days. You’ll have to provide the picture of person or puppy that you’d like to be colored in acrylic and it’ll quickly reach your home.
You with thankful to know that it is very easy to alter background scenes in oil paintings. You can easily add more seasonal parts to your art to work out customized look. The art fans believe that custom-made canvas artworks are considered the smart choices for a present when they start to steer amazing charm by having an enticing appeal in the area. Your effort to paint different portrait with oil painting will definitely be loved by your good friend who is going to receive it as a gift.
So, you are interested to create a few terrific oil paintings? You will discover a long list of suggestions for paintings, it is likely depicting a journey regarding any existing great moment of your lifetime, a portrait of the small pet, a humorous picture of your kid doing a bit of odd activities, picture commission as well as an thought inside your soul. It does not have to matter will be the plans for your own portrait; because you will always select a guy who will give style to your wishes. Artists carry this excellent inventiveness with their blood and they have an understanding of the tact of composing masterpieces.
Actually, there are numerous points to learn about customized art along with their raising appeal. Even though the artworks demand very good care from owners when compared to the digital prints however they lead an inventive charm in the living area. They might deliver a valuable area in the heart of the individual that benefit from it as a great gift. When art receive proper care, they are exactly like brilliant memories for life-long. You can create an eye-catching effect of a person’s furry good friend and / or it can be a ingenious portrait of your personal child. Certainly, your child will cherish to view it when he grow up.
Photographs are definitely the some of the finest innovations of technology yet; somewhere in your heart, we fancy the artworks. There’s lots of crazy guys and women across the world who have been still engaged to transform their snapshot to work of art. If you are also one of those innovative personalities but aren’t willing to put the styles into correct shape then this post really is useful for you.
Offering a custom made portrait artwork to some of your close homeboys on birthday, Special occasions as well as other special event of life is definitely a wonderful idea. You could also do painting of things or sketch down the beauty of a city which is usually liked the most by the your friend. There are plenty of suggestions for making personalized oil paintings and if you hire a pro to perform your desire concepts, it is going to undeniably be a really good success.
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.
Rhetoric is commonly understood as the art of persuasion or effect-oriented communication. Since the 1960s, there have been various attempts to extend rhetoric from speech to visual communication and to design in general. Design rhetoric addresses the effects of artifacts and especially the techniques by which they can be generated and controlled in the design process. The central problems of this approach are the identification of effects and the validation of rules linking design aspects to specific effects. The goal of this article is to demonstrate how these problems can be dealt with by means of a triangulation of analysis, expert judgments, practice-based research, and laboratory experiments. The suggestions made are based on the results and methods developed over the course of two Bern University of the Arts research projects on visual rhetoric in commercial graphics and public-transport information design. While advertising and mass communication theory as well as the psychology and sociology of media are generally more interested in the macrostructural and postcommunicative effects of their objects of investigation (that is, how they affect actions, purchase decisions, quality of life, social structures, or mental equilibrium of users and receivers), the design-theoretical approach presented here is concerned with the micro-structural impact levels: the immediately detectable effects resulting from the formal composition of designed objects, effects that are grounded in the appearance, and sometimes even in the intrinsic properties of things (that is, what kind of primary impression they make on the viewer). In the first two sections, a short introduction to design rhetoric is provided–particularly for readers not yet familiar with the topic–and the main focus and hypotheses of the approach are presented. In the remaining sections, the methods of ascribing effects to design artifacts applied in the two projects are outlined and the arising difficulties and possible ways of overcoming these difficulties are discussed.
This lesson plan is one of my favorites to work with over the past few years, because it allows students to actively engage with texts in the library in a new way and it showcases the abilities of some of our most creative students in a lasting way. We worked with a larger student base our second year and included students in the first-year design class as well, which provided a very diverse offering of products. Being able to show the examples from the previous year of what was done right and what needed fixing was a definite advantage our second year. We also found that proofreading was not a priority for students our first year; in the second, the teacher required students to have multiple classmates proof their work before it could be submitted.
In our second year, we also allowed students from different classes to choose the same book which meant we did end up with a few duplicates. Also, the top designs chosen by the students for each class were not necessarily the top designs chosen by the teacher and the library staff. This is why we printed out more covers than just the class winners–these designs could be called the honorable mention or staff picks category.
I have made one alteration to the lesson plan that I plan to include next year, because I think it will provide the students a better understanding of their own personal design opinions–the process of students selecting books they find appealing and unappealing and deciding why will hopefully allow them to gain the perspective of the consumer, not just the designer. At the completion of the projects, I think making a formal presentation is ideal, because students must defend their choices, which may, in turn, prompt more thoughtful designs. Next year, I also hope to involve students more in the process of nominating books for makeovers. We are very excited to begin this project again next year, and I think these few minor changes will make the process even more student centered and produce even better designs.
The design teacher said this was one of his students’ favorite assignments–mainly because they were creating a product for a real purpose that they could eventually see on display in the real worlds