Painting

[RedWine]

How to Draw a Human Head

Do you need a way to express your ideas, or do you want to become an artist? Do you have trouble drawing the head? My guide will teach you the basics of drawing the human head.

Steps

Draw a circle.
Draw a Light vertical line at the center of the circle.
Make Light horizontal dashes a little above the center of the circle.
A bit below the dashed lines, draw another light horizontal line.
At the bottom half of the circle, draw the jaw-line of your character that meets at the center vertical line. It should basically look like a big "V" in the end.
Draw two vertical lines at the base of the jaw to make the neck.
Add the eyes at the horizontal line with eyebrows going up to the dashed horizontal line.
To draw the eyes, make a half-oval shape. Then draw a horizontal line underneath it. Then draw a black dot in the middle for eyes.
Make your nose along the vertical line and end with the mouth just below it.
To draw the nose, draw a slanted line going down to the right. Then draw another smaller slanted line going down to the left.
Draw the ears as high as the dashed line and about as low as the nose.
To draw the ears, make half-oval shapes on the side of the head.
Make the hairline above the dashed line to show were the hair stops. You can make the hair however you want.
Trace over the head with a pen.
Erase any extra lines, and you now have a human head.



Tips
Draw lightly, so that when you make a mistake and try to erase it, the lines won't show.
Try to have a picture or a model that you can look at for a reference. Draw it exactly how you see it.

Warnings
You should start with a pencil rather than a pen, because you will not be able to erase any mistakes you make.

[RedWine]

How to Graffiti
While graffiti is associated with vandalizing other people's property, it has evolved into an art form in and of itself. As such, here's how you can explore graffiti both legally and creatively.

Steps
Know and respect the history of the art. Graffiti is a hobby with a long history. Look at early hip-hop and the first writers (people who write graffiti), such as Taki in NY. The worst thing to experienced writers are "toys" making fools of themselves and destroying the scene for everyone else.
Pick a name. Practice drawing letters and pick some that you like drawing. Do not try to get too crazy with extensions and bending at first. Take it slow and make everything as clean as possible. It is very helpful at this point to find inspiration from other pictures you see. However, in the future, you will want to develop your own, unique style. A very important aspect to creating a good style with your name is flow. Keep characteristics of letters common throughout the rest of your name. Style is everything.
Carry a sketchbook and pencil with you wherever you go. Practice your craft as much as possible. As you come up with new ideas for tags and designs, sketch them in your book and develop the concept by trying out different variations. If possible, carry pencils of a few different colors.
Work with your cans. Buy a piece of plywood from Home Depot to practice on. At this point, colors and styles should be simple. Practice your can control and your techniques for painting and steps for putting together a clean "piece."
Be smart. Many cities also have "permission" or "legal" walls specified for graffiti art. Legal graffiti is often more respected than street art. You have unlimited time and freedom to do what you please. Compare legal walls to quick throw-ups found on the street. You will find that legal walls are intricate and aesthetic. Street art is just trying to be seen. Legal graffiti art is more remembered and respected by those who do not completely understand the artform.
Try to meet experienced writers who can help you learn the ropes. (However, be cautious; you do not want to come off like an undercover officer.) Show your appreciation for their work and their skills.



Tips
Don't get frustrated with lettering, it takes time.
Wherever you write, keep in mind that you are representing the entire graffiti culture anytime anyone else sees it. People usually don't differentiate between writers, they just know that somebody destroyed their property. Stay away from privately-owned businesses, churches, high profile business buildings. The experienced writers nowadays tend to stick to low-profile spots such as tunnels, abandoned buildings, and, if so desired, legal spots.
It's a lot easier to use stencils. Buy some sticky paper and put it in your printer. Use Photoshop or any other graphics program to make the paint layers. Print them.



Warnings
Graffiti, as vandalism, is illegal, and could get you arrested. Even if you are doing it with permission, some states are so uptight that they will still arrest you.
Consider wearing latex gloves and a paper mask. If spray gets in your nose, it could damage your respiration system. You can buy these from any pharmacy.

[RedWine]

Find Museums That Will Buy Your Art
Here's how to approach a gallery or museum about buying your art.

Steps
Approach the gallery or museum. Always be polite and take examples of your work, whether in photos or slides, etc.
Should they refuse, ask them if they would mind you making a display outside the grounds, and then hang your work on the gates of the building. This gets your work seen (and you'll probably make the papers, too).
If all of this fails, ask a church hall if they could rent you a space to display your work.
Check out local restaurants. Many of them are willing to display artwork. You may be able to sell them as well. The store owners charge between 10 - 30% of the selling price.



Tips
Honest critiqing needs to be done before you "put yourself out there." Community colleges are a great place to bring your work and have teachers give their honest opinions.



Warnings
DO NOT bring work that you have learned through a TV show or some other fast paint method. No museum will give it a second glance and any honest art instructor will direct you to experiment with a classic method. Sofa art is great for your home or that of loving relatives, it is NOT museum nor art gallery quality.

[RedWine]

قرمز، زرد، نارنجی، قهوه ای و طلايی فضای گالری توتال آرت دوبی را گرم تر از هميشه کرد. نمايشگاهی از آثار نقاشی داود زنديان، هنرمند نقاش ايرانی، در گالری توتال آرت برگزار شد.
سالن گالری با ديوارهای روشن و نور روز که به ديوارها سايه ای افکنده، خيلی ساده و صميمی است و اين تماشای تابلوهای گرم نقاش را دلنشين تر می کند. ويژگی اصلی آثار داود زنديان، استفاده از رنگهای گرم نظير قرمز، زرد و قهوه ای است که به گفته خودش متأثر از محيط و کشوری است که در آن بزرگ شده و ديگر جزيی از وجود او است. به اعتقاد اين هنرمند ايرانی، اين رنگها انسان را به عشق به زندگی دعوت می کنند و از اين رو رنگهای مقدسی هستند.

در بوم نقاشيهای زنديان آرامش، سکون، سکوت و تنهايی موج می زند و اين می تواند آميزشی باشد از روياها، احساسات و افکار او پس از مهاجرت.
داود زنديان

داود زنديان در مصاحبه ای با مجله تايم آوت دوبی می گويد که از همان کودکی نقاشی می کرده است. وی در ابتدای کارش بيشتر با مضامين مذهبی و سنتی، زندگی روزمره ايرانی را به تصوير می کشيده، اما در سطح حرفه ای، هنر نقاشی را فراتر از يک تصويرگری صرف از افراد، طبيعت و زندگی روزمره می داند. به اعتقاد او آثار اوليه اش به آيينه ای در برابر زمانها تبديل شده بود.

مضامين اصلی نقاشيهای زنديان انسان، گذشته، حال و آينده يا به تعبير ديگر، زندگی در جريان زمان است. به گفته نقاش، عامل مهم در آثار او رابطه ای است که فرد به عنوان موضوع اصلی طرح با محيط اطرافش دارد؛ چنانکه هنرمند تلاش می کند به آن سوی مقدش اشيا و اجسامی که در محيط انسان قرار گرفته است رخنه کند. اين حس آنچنان پيش می رود که گاهی اجسام بی جان نيز به اندازه يک انسان ارزشمند می شوند.

اشيا و اجسام در آثار او و به گفته خودش، دارای هويت هستند و اين هويت بخشی به خاطر نوع نگاهی است که او به اجسام دارد. در حقيقت، او به اين هويت دست نمی برد و تنها با ابزار نقاشی پرده ای را که اين هويت را پنهان کرده است، کنار می زند تا واقعيت آن پديدار شود.

زنديان در سال ۱۹۵۴ در اصفهان متولد شد و در پايان دهه هشتاد ميلادی ايران را به قصد مهاجرت به نروژ ترک کرد. وی پس از مهاجرت، کار حرفه ای خود را ادامه داد و آثارش را در بيش از بيست و دو نمايشگاه در شهرها و گالری های مختلف در نروژ، انگلستان، ايالات متحده و ساير کشورهای اروپايی به نمايش گذاشت.

نمايشگاه اخير او در دوبی که بدون حضور وی برگزار شد، اولين نمايشگاه او در خاورميانه در دو دهه اخير است.

نمايشگاه نقاشيهای داود زنديان تا ۲۱ ماه آگوست در گالری توتال آرت دوبی داير خواهد بود.

[Sepideh_UK]

Great!!

cheerz.

[RedWine]

Great!!

cheerz.

D Zandian miad keh dar U.K ham expo bezaneh,hatman boro karash ro bebin !

[Sepideh_UK]

Koja Khob? ye khorde bishtar etelaat bede.

[RedWine]

Koja Khob? ye khorde bishtar etelaat bede.

Moteasefaneh just in London !!! barayeh inkeh iraniha bishtar dar London hastan !

Hala aghar i got the other info,inja hatman behet migam azizam.

[Sepideh_UK]

Aaa!!
Its a long jurney to London.
hala bebinam chi mishe.
I'll b grateful if u could plz add more info as soon as u get any.

[RedWine]

Aaa!!
Its a long jurney to London.
hala bebinam chi mishe.
I'll b grateful if u could plz add more info as soon as u get any.

hatman anjam midam .

[RedWine]

Farhad Nabipour is a painter from Iran. His photography captures a modern perspective with deep colors and fresh angles. Enjoy the exhibition of this great Iranian artist.

[Sepideh_UK]

WOW Such a good imagination!!!
Thanx siamak.

[RedWine]

Abstract art is now generally understood to mean art that does not depict objects in the natural world, but instead uses color and form in a non-representational way. In the very early 20th century, the term was more often used to describe art, such as Cubist and Futurist art, that depicts real forms in a simplified or rather reduced way—keeping only an allusion of the original natural subject. Such paintings were often claimed to capture something of the depicted objects' immutable intrinsic qualities rather than its external appearance. See Abstraction. The more precise terms, "non-figurative art," "non-objective art," and "non-representational art" avoid any possible ambiguity.

Non-objective art is not an invention of the twentieth century. In the Islamic religion the depiction of human beings is not allowed, and consequently the Islamic culture developed a high standard of decorative arts. Calligraphy is also a form of non-figurative art. Abstract designs have also existed in western culture in many contexts. However, Abstract art is distinct from pattern-making in design, since it draws on the distinction between decorative art and fine art, in which a painting is an object of thoughtful contemplation in its own right.

Constructivism (1915) and De Stijl (1917) were parallel movements which took abstraction into the three dimensions of sculpture and architecture. The Constructivists believed that the artist's work was a revolutionary activity, to express the aspirations of the people, using machine production and graphic and photographic means of communication. Some of the American Abstract expressionists are purely abstract and include: Barnett Newman, Mark Rothko, Willem de Kooning, Jackson Pollock, Franz Kline, and Hans Hofmann although they were at times inspired by myth, figuration, architecture, and nature. Op Art (1962) and Minimalism (1965) were two recent idioms. It is, at present possible that an artist's work is seen as an individual entity rather than part of a movement. The late Yves Klein and the late John McLaughlin, and the more current Callum Innes, Sean Scully, and Yuko Shiraishi are but a few of the many abstract painters whose works can be seen today.

[RedWine]

A study of medieval Islamic art has shown some of its geometric patterns use principles established centuries later by modern mathematicians.
Researchers in the US have found 15th Century examples that use the concept of quasicrystalline geometry.

This indicates intuitive understanding of complex mathematical formulae, even if the artisans had not worked out the underlying theory, the study says.

The discovery is published in the journal Science.

The research shows an important breakthrough had occurred in Islamic mathematics and design by 1200.

"It's absolutely stunning," Harvard's Peter Lu said in an interview.

"They made tilings that reflect mathematics that were so sophisticated that we didn't figure it out until the last 20 or 30 years."

The Islamic designs echo quasicrystalline geometry in that both use symmetrical polygonal shapes to create patterns that can be extended indefinitely.

Until now, the conventional view was that the complicated star-and-polygon patterns of Islamic design were conceived as zigzagging lines drafted using straightedge rulers and compasses.

"You can go through and see the evolution of increasing geometric sophistication. So they start out with simple patterns, and they get more complex," Mr Lu added.

He became interested in the subject while travelling in Uzbekistan, where he noticed a 16th Century Islamic building with decagonal motif tiling.

Mr Lu, who designs physics experiments for the International Space Station, was in the region in order to visit a space facility in Turkmenistan.

Islamic art traditionally uses a mixture of calligraphy, geometric and floral designs because of a prohibition on the portrayal of the human form.

[RedWine]

One time art

Painting + Photography

[RedWine]

March 17: The Axis of Art and Culture, A Contemporary Iranian American Art Exhibit Opens At Gallery One In San Francisco's Financial District

At a time when the President of the United States solicits support for war against another "Axis of Evil," seven Iranian American artists hope to alter dominant ideology through their art at a Francisco Art Exhibit.


For Immediate Release

SAN MATEO, Calif./EWORLDWIRE/March 1, 2007 --- A Contemporary Iranian American art exhibit opens on March 17th, 2007 at Gallery One in San Francisco's Financial district, and runs through the end of March in observance of No-Rooz, the Persian New Year.

"No-Rooz, literally 'New Day' is celebrated on the vernal equinox, or the first day of spring, and represents new beginnings. So it's a timely opportunity to showcase some of Iran's less talked about assets in the form of it's art for a change," says Lalé Shahparaki, the founder of Beyond Persia, the non-profit organization behind the exhibit. "With our shows, we hope not only to boost our own self-image, but hopefully to transcend cultural barriers and finally enter mainstream consciousness as something besides oil-rich terrorists. We see this as a sort of needed 'cultural upgrade' for those on both sides of the cultural fence, since both our image and our self-respect have been wounded with the President's words. As self-respecting Iranian-Americans, we want to step up to the palte with something fresh and new besides Ahmadinejad."

The exhibit features the work of Contemporary Masters like Amir Salamat and Sara Rahbar whose body of work includes complicated, abstract and often political pieces such as Salamat’s "The Human Pyramid" and tongue-in-cheek "George, Dick & Donald" or Rahbar's well-known "Terrorist." However, this special No-Rooz exhibit will feature several of Ms. Rahbar's softer works the heart of which is her stunning mixed media installation, "Flag," which is a carefully constructed U.S. flag made up of strips of traditional Persian fabrics, the kind usually worn by colorful peasants. Other artists in the show are Shiva Pakdel whose popular collages of Qajar men and women always strikes a nerve with 1st generation Iranian Americans who straddle the difficult East/West/Old/New barrier with equivalent grace.

Highly talented emerging artists like Maneli Jodat, Taraneh Mina, Arien Valizadeh and respected Ceramic artist, Babak Daleki will be on display and available for sale to the public from March 17 through March 30, 2007.

A special VIP Reception for the press, collectors, and those interested in previews will be held from 7:00 p.m. to 11:00 p.m. on Saturday, March 17, 2007 and will feature a rare acoustic performance by Persian/Flamenco master Emad Bonakdar and percussionist Mohamad Mohsenzadeh, at Gallery One, 1 Embarcadero, Lobby level, suite 1 EC, San Francisco, CA 94111. Tel. 415-392-3570. Admission is free.

For Donations, Interviews or more information contact: Laleh Hashemi, Publicist, beyondpersia@gmail.com 415-738-2128



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CONTACT:
Laleh Hashemi
Beyond Persia
PO Box 5179
san Mateo, CA 94402
PHONE. 415-738-2182
EMAIL: Beyondpersia@gmail.org
http://www.beyondpersia.org

[RedWine]

Naghmeh's creativity is expressed both in her brilliant writing and painting style, the "magical realism" of her own. She is a graduate of UBC where he majored both in Fine arts and in Psychology. Art studies in the unique setting of L'Ecole des Beaux Arts de Paris further nurtured her profound imagination as well as her techniques and philosophy in art. As part of a larger life experience, Naghmeh has extensive experience in teaching ESL in China and enjoys further cultural stimulation through her fluency in French and Italian as well as her mother tongue.



http://img141.imageshack.us/img141/7429/14060924gv6.jpg (http://imageshack.us)

http://img141.imageshack.us/img141/77/76032585nc2.jpg (http://imageshack.us)

http://img143.imageshack.us/img143/4815/13049157fz6.jpg (http://imageshack.us)

http://img141.imageshack.us/img141/8733/76998561ho9.jpg (http://imageshack.us)

[RedWine]

Anahita Vossoughi is an Iranian-American artist based out of New York City. Her work deals with the combination of Eastern and Western culture. She has shown extensively in New York City at such venues as PPOW gallery and Spike gallery.

For more, visit Anahita Vossoughi's website at www.anahitavossoughi.com.


http://www.persianmirror.com/Images/Articles/1434/Abu-1_500-Anahita-Vossoughi.jpg

[RedWine]

"Moments" are recent pages of my diary sketch book. The images speak of dichotomy and cultural conflict that surround me. Figures from Eastern and Western cultures and language discourse in the piece, while borders melt and cultures combine. Each snap-shot show a mind lost in translation, struggling to understand the moment. My approach is about healing past wounds, expanding horizons and facing a mirror with no expectation for the recognizable, the known. I try to look at my environment as an observer and not the judge. Every split second is a fresh plot and another opportunity for creating a little change in a woman‚s unvoiced life and in an unveiled universe. War is not an answer .

www.nahidnavab.com

[RedWine]

Ava Serjoie is a master of vibrant colors. This painter was born in Iran in 1975. She has a PhD from Augsburg University in Germany and has already exhibited her paintings in many places around the world including Tehran, California and Sweden.

Of her work, she says, 'During the past two decades, unfortunately because of the growing population, and financial benefits, it has become very common to bring down old houses and in their place build tall buildings which hold high number of flats. With the destruction of those old houses die traditions and a certain kind of life and nature that were linked with those houses.
Each old house was situated in a garden.

The gardens always held a pool in the middle with gold fishes, and around the pool stood the pots of flowers, that were carefully and with love nurtured in winter so they would be brought out again in spring to adorn the garden. The gardens were carefully planted and attentively taken care of; they were a rose garden, an orchard and a vineyard. My paintings are my memories of the gardens of the houses that don’t exist anymore, but I live with every second of the day.'

[RedWine]

“‘If there is any hope for the future of humanity, it is Art.’ With a brush in my hand, I was born on January, 7, 1949, in Abadan, Iran. Yes, I am a Capricorn. My art addresses human condition: our desires, our anguish, our confusion, and, above all, our behavior. In this, I have to study and reflect upon our soul, our Spirit. For art without spirit is only a craft. In addition to being a painter, I have a Ph.D. in Iranian Linguistics. I have worked on ancient Iranian (dead) languages. Knowing about ancient Iran has definitely expanded my art. I am also a poet, musician, performer, and reciter of poetry, especially those of Rumi (CD: Koorosh Angali Recites Rumi, Vol. I, X Dot 25 Music Productions, 1997) and Sohrab Sepehri, the Persian modern-day Rumi. I believe if Rumi, Tchaikovsky, Sepehri, and I were neighbors, we would have made great buddies; alas, I never met any of them!”

http://beinart.org/artists/koorosh-angali/

[RedWine]

For Seyed Alavi, creating objects and asking questions are equally important in his art-making process. For nearly two decades, the Bay Area artist has been working with public institutions to create conceptual works of art to be experienced by passersby. Spark follows Alavi as he offers a guided tour of his art and working process.

Though Alavi produces tangible objects, he thinks of himself as a conceptual artist, that is, the ideas behind his works are centralized over the finished object. Whereas many artists choose to master a specific medium and explore multiple subjects through it, Alavi works in several media. He develops a concept, plans the work for a specific location, then outsources the actual fabrication of the piece.
Alavi has created some of his most penetrating works with the help of high school students. His first such project was a series of text pieces painted under the overpasses of Interstate 580 in Oakland. Collaborating with a group of students from the region, he helped them to develop wordplays that would cause those who viewed them to think about the topics raised. Stenciled in capitalized serif fonts, the murals provocatively announce "INVISIBLE COLORS," "INFORM(N)ATION," and "D FFERENCE," the last suggesting that one needs to include his or her "I" to make the "difference."

Another project done in collaboration with students is a series of variations on the ubiquitous schematized human figures found on street signs. Together with a team of students, Alavi came up with 17 surreal alterations of the figures. They then painted their versions onto utility boxes scattered throughout the town of Emeryville, Calif., in order to raise questions about the nature of human identity, interaction and existence.

Spark also trails Alavi to San Francisco's Exploratorium, where he and four other artists have been invited to create installations in the museum's space based on the notion of "liminality," the condition of being between states. Alavi's concept provides the physical challenge of closing off the skylights in the Exploratorium's massive space so that he can program the illumination of lights clustered in a ball high above visitors. As museumgoers move in and around the space, their relationship to the moving lights continually changes, thereby making them aware of their constant state of liminal perception.

Seyed Alavi earned a B.S. from San Jose State University and an M.F.A. from the San Francisco Art Institute. He has created site-specific installations for locations in New York, Long Beach and the Bay Area. He has taught classes and workshops at the San Francisco Art Institute, the California College of the Arts, San Francisco State University and the University of California at Davis.

http://www.kqed.org/arts/people/spark/profile.jsp?id=17124

[dosto]

you are really pioneer in this regard. thanks for these nice photos

great photos really

[RedWine]

Born in 1971, Neda Darzi was always interested in Art. So much so that she obtained her diploma from Tehran girls school of art in 1992.

http://www.persianmirror.com/Images/Articles/1587/NedaDarzi1.jpg

She then followed her dream by getting a BA from Tehran Azad University and then an MA from the Art University of Tehran. So far, Neda has done five major exhibitions and taken part in some 30 group shows in Iran, France and Italy. She is also a filmmaker and has extended her art to the world of cermics, sculpture, photography and Iranian tapestry.

She uses sombre colors that are alive at the same time. Here are some samples of her work.