Painting

[Rasputin]

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.

[Rasputin]

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.

[Rasputin]

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.

[Rasputin]

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.

[Rasputin]

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.

[Rasputin]

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.

[Rasputin]

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 .

[Rasputin]

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.

[Rasputin]

[Rasputin]

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.

[Rasputin]

One time art

Painting + Photography