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Here's the printed final of my contribution to the Gigposters.com 2008 screen printed calendar.
Calendars go on sale 1/23/08 noon Canadian time. Whatever that means.
To order
To see a step-by-step on how I produced the drawing
GigPosters.com 2008 Pin-Up Calendar Poster Set For Sale Tomorrow!
The calendars will be for sale initally to PREMIUM MEMBERS for the first 48 hours in the premium member forums.
Remaining copies will be for sale to the general public after the 48 hour period.
12 month calendar posters + 1 cover poster
Designs by: Scrojo, Daniel Danger, Johnny Crap, Von Dada, Tanxxx, Bootsy Rizzak, Quimby, Brian Ewing, Adam Turman, Jason Goad, John Seabury, StainBoy, and Steve Chanks
Size is 10"x20" trimmed. All calendar pages are screenprinted 3 colors on Boise smooth 100lb cover using TW waterbased inks. Printing was done by Andy MacDougall Dec. 23 /07 - Jan.5/08 at Squeegeeville studio, Vancouver Island. Separations and films were provided by Monsterpress, Langley, BC.
This limited edition printing consists of 100 sets of 13 pieces, 10 sets of uncut press sheets with 3 posters per sheet, and 10 sets of printer's proofs. All trial copies and screens have been destroyed, and the edition will not be printed again.
*LOTS MORE INFO will be included tomorrow with the launch including final pricing with shipping etc.*
Designed by Neal Elias.
This is an updated photo of this model,which I folded long time ago.
I folded it from black silk paper glued to a red one the other side,and coated with waterbased varnish.
It was(and still is) one of Neal's best designs!
The modelling work I love to do most, giving the land its shape. Nature, roads, pavements, to me it is the most thankfull work. Its ‘serious’ business because just that gives your layout ‘the face’ which you want to show. There is ofcourse a danger in it, every mistake or ‘didn’t work out so well’ piece of work you will see as long as your layout exists, even when others do not see! Anyway, our house is partially surrounded by a beech hedge. Its large, wide and high. Quiet an eyecatcher and for sure in miniature very decisive for the entire model. I decided to cut sponge (ordinairy sponge from the supermarket) to more less the right size and take this as a base. I then painted the sponge with a base coat of green. For this I used a kind of fat waterbased paint (here they call it ‘finger paint’ mostly used in kids) which forced up to 48 hours to dry, and then it was still moist!
Of all foliage I had left, I have taken the best fitting and mixed two colours. Then I covered the total base painted sponge with a layer of slightly diluted wood glue, and sprinkled it with the foliage. Next; 48 hours to dry (24 is just too little as it seemed) before correcting and final touches can be made.
The infill in part of the 'U' & in the 'R' is meant to be a fly's leg under a microscope. Got the idea from some bands' poster & thaought it would be a good fill.
Decorative waterbased sparpaint on the outline (who remembers these?) & Julien paint from Dieppe
A hidden gem on a hidden SDHC card in my bag, so i'm afraid their are still around another 4 snowscapes to come.
Six posts tethered with barbed wire on the route just outside Corravilliers in Eastern France.
I'm of to take a wander along the Swollen river Breuchin tommorow to see what grabs my eye, maybe a few river or waterbased landscapes for next week or two.
For those that can't swim, don't worry it'll be me getting his feet and camera wet for you.
"As I walked my path through life
My body being my temple of ideas
I wanted to express myself, my own way
Walking into the shop that day
I found my expression waiting for me
Custom drawn just for me in black line art
I made my way into the studio in the back
My nerves dancing in my skin and mind
As I sat down in the chair I knew this was it
Forever in my skin it would lay
As the artist prepared the machines
I watched in awe of his precision and care
The time had come and that buzz and click began
My flesh was prepared to receive its gift
As the razor slid down my back I closed my eyes
It was time to lay the idea into my skin
With artist vision the hands and steel became one
Flowing over my back in defined motion
A picture became a living portrait of life
As the minutes passed I felt the ink be laid
Into my skin like a humming bird kisses a rose
When all was said and done I stood once more
This time to see my idea frozen in time
As a portrait of vision in my skin
Laid in brilliant color for the first time
Now I understand the meaning of a Tattoo."
Entitled: Enduring Success
Poetic words By Kat Nelson
☂ RainForest Ink - blogged here
flickr today
Urban RainForest Ink
(Series 5 of 5)
Hand silkscreened using my own illustration. I use waterbased inks that are enviro-friendly and super soft
This is the only one I have of these and I put it in my etsy shop.
Herring gulls hunting for mussels and crabs at low tide on the Tees estuary. Water-mixable oil on canvas 14x10"
This old fella seems to have taken up night time residence on top of this light in the middle of the bridge.
Must say...the view would be spectacular..bit like this...Waterbased Highway Patrol
detail (detalle) /
magazine and book cutouts, postcards, file cards, photographs, masking tape, paper, cardboard, marker, waterbased enamel and acrylic (recortes de libros y revistas, postales, fichas, fotografías, cinta de enmascarar, papel, cartón, plumón, esmalte al agua y acrílico) /
variable dimensions (dimensiones variables) /
2011-2012
Folded again this great model as I was not satisfied with previous result. I was able to correct some mistakes, I think it looks much better.
I used this time a 44x44 tant paper painted with acrylic white colour. I also applied waterbase varnish on the finished model
Dadamaino, Volume, 1959, Idropittura su tela [Rifiuto di plastica] forata[o] (Water-based paint on Pierced canvas [plastic waste]), 70 x 50 cm - 27.6 x 19.7 in, Collezione privata
Altro titolo - Another title: Ridurre/Reduce Recuperare/Recover Riciclare/Recycle Riparare/Repair Ridisegnare/Redesign Rifabbricare/Remanufacture Riutilizzare/Reuse R…/R…, 2024
[Fototeca Fondazione Omeri]
I am continuously trying different sealants to find one that is non toxic and works perfectly. The one on the picture was recommended to me by a blythe customiser saying that is safe since it is waterbased, but after checking the Material Safety Data Sheet online it was obvious it wasnt :( I just wanted to share my findings to encourage people to learn more about the materials they use (not just sealants but also regular paints, pastels and others), especially if it is something you handle on a regular basis. Always check the back of the packaging and if it doesnt explicitly say "non toxic" you can asume it most likely has some nasty chemicals that you should be wary about.
Here is a good article that I recommend checking out which explains the different labels (acmi AP, acmi CL), what to look for on the packaging and other useful things. As it says on their website Know More, Worry Less, Live Better.
What’s on the Label: Art and Hobby Supplies Read more: healthychild.org/blog/comments/whats_on_the_label_art_and...
The modelling work I love to do most, giving the land its shape. Nature, roads, pavements, to me it is the most thankfull work. Its ‘serious’ business because just that gives your layout ‘the face’ which you want to show. There is ofcourse a danger in it, every mistake or ‘didn’t work out so well’ piece of work you will see as long as your layout exists, even when others do not see! Anyway, our house is partially surrounded by a beech hedge. Its large, wide and high. Quiet an eyecatcher and for sure in miniature very decisive for the entire model. I decided to cut sponge (ordinairy sponge from the supermarket) to more less the right size and take this as a base. I then painted the sponge with a base coat of green. For this I used a kind of fat waterbased paint (here they call it ‘finger paint’ mostly used in kids) which forced up to 48 hours to dry, and then it was still moist!
Of all foliage I had left, I have taken the best fitting and mixed two colours. Then I covered the total base painted sponge with a layer of slightly diluted wood glue, and sprinkled it with the foliage. Next; 48 hours to dry (24 is just too little as it seemed) before correcting and final touches can be made.
Designed by Satoshi Kamiya.
I folded it quite some time ago from Tissue fur-like paper I got from Nicolas Terry ,with white rice paper.
I reshaped it yesterday using waterbased varnish,so now it looks much better than it was before.
Kamiya's designs are the best!
9" x 9" monotype of about ten impressions of waterbased ink on a woodblock, then pulled onto damp handmade paper
fun stuff!
Just bought some new waterbased relief inks from my art-store....Aart de Vos in Aarhus, Denmark, splendid place…..good stuff….
at the right I tried it on a piece of paper already made with dark brownish red colour ( acrylic with some black tusch on top)..actually i thouhgt it was watercolour but realized it was not when seeing the greyish tree woodcut on the surface...the print won´t get nice, but shaky if it is made onto a piece that can´t absorbe...and the acrylic surface can´t…..at the left it was made on Fabriano paper which is good, but my print were not that good at the right side lower down….too litle paint rolled onto the wooden plate…..
But i like the colour that i made.... a small amount of deep blue ( like preusser blue) and dark yellow and opaque white and some extender …..nice to see how the colours react….
‘Flare’
6-layer stencil
4 colours (including white and black)
24x30” standard edge canvas
Edition of 3
Signed and dated on reverse
17 hours from start to finnish and 40gb of video footage.
mail@t3art.co.uk
Minotaur designed by Satoshi Kamiya.
I folded it from a small size of less than 30*30 cm...very difficult. Golden thin paper.
Murex designed by Robert Lang,from "Origami Sea Life". folded from twist paper with waterbased varnish.
Not an 'Overhaulin' car but one that Foose built and sold to Cowboy Bob last year - www.youtube.com/watch?v=CpSzyM9gdZE
Editorial comment: Where have all the 1960 Ford Starliners gone? One of the most beautiful and iconic shapes to come out of Detroit in the 20th Century and they're as scarce as hen's teeth. Why? Did nobody care enough about them to restore them?
Marconi Automotive Museum - Tustin, CA
Press L to enlarge
detail (detalle) /
magazine and book cutouts, postcards, file cards, photographs, masking tape, paper, cardboard, marker, waterbased enamel and acrylic (recortes de libros y revistas, postales, fichas, fotografías, cinta de enmascarar, papel, cartón, plumón, esmalte al agua y acrílico) /
variable dimensions (dimensiones variables) /
2011-2012
Like most airplane / car / space model builders, there always seems to be another gray I need to mix or match. I've got more, I just stopped at 50 for this picture, making sure to have my favorite, Polly Scale, well represented. Also Testor's Model Master Acryl II, (or just Acryl, nobody but me remembers the first version).
Polly Scale and Model Master paints are both made by the RPM company, but the Polly Scale paint costs $1 more per bottle, and is a superior brushing paint, in my opinion. Dead flat and able to be put on in extremely thin coats, Polly Scale is the water based paint that had the range and usability to allow me give up oil based paints.
Testor's Model Master Acryl is nearly as good, a little thinner, needing more coats to cover, but showing brush marks more as well. Go figure. They smell different.
Tamiya make an acrylic with an alcohol and water thinner that's like no other water based product. Its very thick, so seemingly covers in a few coats, but it builds up, especially the gloss versions. But the colors are beautiful and dense, the pigments very fine. Its like a super premium house paint. If you work diligently, you can build up 2 or 3 very thin coats of the gloss and get an actually glossy finish without it being too thick. Its not the most user-friendly but the cap molded in plastic the color of the paint, and the obsessive beauty of the colors, makes it hard to pass it by. It used to be the easiest to find, 30 years ago, but Testor's Acryl is easier in the USA today.
Gunzie Sangyo is another Japanese product, with the bottle caps molded in plastic (more or less) the color of the paint. They too have a unique not-just-water solvent system. Not the same as Tamiya, and the two don't actually mix very well.
Unlike oil-based enamels, acrylic paints don't all play well together....
Some very good modelers swear by Tamiya, some by Model Master Acryl, some by Gunzie Sangyo, some by Polly Scale.
Rarer birds in this collection are bottles of Pactra's old acrylic line, before RPM bought them and "rationalized" their line to not complete with the flagship Testor's product. The Pactra bottles are 4th from the right, back row, and first on the left, 2nd from back row. They have black metal caps but a colored sticker that gives the stock number, name and FS595 number.
One squeeze bottle of "steel" is from Vallejo, in Spain, and a second bottle, next to it in the back row, is a stainless steel from Blick Art. The rarest bottle in this collection is the beige/khaki grey/tan directly in front of the Tamia spray can. It was a super-niche model paint marketed to Luftwaffe fans, and the color is RLM 02 gray.
Polly Scale is specialized stuff you have to look for. Hobbies Unlimited in San Lorenzo stocks it in railroad colors, in larger bottles, (1.5 oz? 2oz?) Sheldon's Hobbies in San Jose has all the military colors in the 3/4 ounce bottles. Both also have Acryl. Hobbies Unlimited and Berkeley Ace Hardware have Acryl, Tamiya, and others. Berkeley Ace has the newer Humbrol acrylic, and oil paints.
Boeing Aircraft Company's color 707 gray (between 706 and 708, not named after the popular 4 engine jet airliner) for 1/144 airliners was a good challenge for me- there were oil based versions available but no water based one when I started mixing my own. I ended up with 3 parts Testor's Model Master Acryl II 36495 gray and 8 parts Acryl flat white.
Then there are the pure metallic paints, - stainless steel made using powdered stainless steel, Aluminum made with powdered aluminum. And that maid of all work, metallic gray, a mix of black, white and aluminum pigment. Its #56 in Tamiya's acrylic range and it was #56 in the old Pactra oil-based model paint line too.
The Model Master rattle can gray is an oil-based paint, and the Tamiya is a synthetic lacquer. One bottle of 'silver', third from the back, third from the left edge, is Testor's famous Chrome Silver enamel. Another bottle of Testor's oil-based metallic paint is at the back left corner. The Testor's oil-based enamels are in 1/4 oz bottles.
sharpest
díptico (dypthic), óleo, acrílico y esmalte al agua sobre tela (oil, acrylic and waterbased enamel on canvas), 140 x 220 cm, 2005
Folded as a gift for a friend, I used 26x26 tissue foil + white unryu. After finishing the model I applied a layer of waterbase varnish, which protects it and makes it look shiny.
Very nice model, I regret not taking a better picture.
I just started working with EH and have been experimenting with painting it. I love the result I am getting with a product called "Glimmer Mist" and thought I'd share. It's a spray that is found at scrapbooking stores, easy to order online in dozens of colors. The results are really nice. It is waterbased and may run if it gets wet on the EH, so I spray it with a thin coat of varnish.
I just started working with EH and have been experimenting with painting it. I love the result I am getting with a product called "Glimmer Mist" and thought I'd share. It's a spray that is found at scrapbooking stores, easy to order online in dozens of colors. The results are really nice. It is waterbased and may run if it gets wet on the EH, so I spray it with a thin coat of varnish.
Tree No. 30
6 block woodblock print
moku hanga style with waterbased ink and hand-pulled with a baren
4" x 6" edition of 35
color woodblock print, waterbased ink (Moku Hanga) on japanese paper Awagami Inbe
Montagne d'Aston - Ariège - Pyrénées - France
Oil pastel resists water so I find it creates an interesting surface. It's possible to rub in the waterbased paint with a finger and then paint into it.
I folded this dragon some time ago. I used in this case crumpled paper, which I like very much to fold with, but is not as nice as other papers (the color is quite opaque).
I decided then to apply a waterbased varnish to it, and I was surprised about the result. It not only looks much better, but also the varnish strengthened the paper very much, so it can hold the wings in this position now.
Rangoli is one of the most popular art forms in India. It is a form of sandpainting decoration that uses finely ground white powder and colours, and is used commonly outside homes in India.
Rangoli can be wall art as well as floor art. The term rangoli is derived from words rang (colour) and aavalli ('coloured creepers' or 'row of colours').
The origin of rangoli painting is traced to a legend recorded in the Chitralakshana, the earliest Indian treatise on painting. When the son of a Kings high priest died, Brahma, Lord of the universe, asked the king to paint the likeness of the boy so that Brahma could breathe life into him again. This is how, it is believed, the first painting was made. Also, the son of the king painted a portrait of a girl whom the son liked very much, although the king would not let his son see her. Rangoli also became a form of self-portraiture for women.
Another popular story is that God, in one of his creative episodes, extracted the juice from one of the mango trees as paint, and drew the figure of a woman so beautiful that it put the heavenly maidens to shame.
Chola rulers made extensive use of floor paintings. They are known by different names in different parts of the country; Alpana in Bengal, Aripana in Bihar, Madana in Rajasthan, Rangoli in Gujarat, Karnataka and Maharashtra, Chowkpurana in Uttar Pradesh and Kolam in Kerala and Tamilnadu, Muggu in Andhrapradesh. Some of these, especially many of the North Indian ones like Aalpana more often refer to floor painting with traditional wet color, rather than the powder rangoli more conventional in south India.
Rangoli in front of house during Pongal
Like Hindu and Buddhist Mandalas, the reason for using powder or sand as a medium for creating Rangoli (and its resulting fragility) is sometimes thought to be a metaphor for the impermanence of life and maya.
[edit] Description
The motifs in traditional Rangoli are usually taken from Nature - peacocks, swans, mango, flowers, creepers, etc. The colours traditionally were derived from natural dyes - from barks of trees, leaves, indigo, etc. However, today, synthetic dyes are used in a range of bright colours. The materials used for Rangoli take on either a flat appearance, when a uniform monolayer of powders are sprinkled or a 3-D effect when different sized grains like cereals, pulses etc are used either in their natural colouring or tinted with natural dyes are used. Some artists use the 3-D effect for borders alone while others create beautiful designs using grains and beads entirely. Coloured powder can be directly used for fancy decorations, but for detailed work, generally the material is a coarse grained powder base into which colors are mixed. The base is chosen to be coarse so that it can be gripped well and sprinkled with good control. The base can be sand, marble dust, saw dust, brick dust or other materials. The colors generally are very fine pigment podwers like gulal/aabir available for Holi or colors (mentioned above) specially sold for rangoli in South India. Various day to day colored powders like indigo used for cloth staining, spices like turmeric, chili, rawa, rice flour, flour of wheat etc are also variously used. Powder colors can be simply mixed into the base. If the base is light like saw dust, it can be used to make floating rangoli on the surface of stagnant water. Sometimes saw-dust or sand is soaked into waterbased color and dried to give various tints. However that probably cannot be used on water. If a rangoli is to be made on water, the color should preferably be insoluble in water. [1]
The designs are symbolic and common to the entire country, and can include geometrical patterns, with lines, dots, squares, circles, triangles; the swastika, lotus, trident, fish, conch shell, footprints (supposed to be of goddess Lakshmi), creepers, leaves, trees, flowers, animals and anthropomorphic figures. These motifs often are modified to fit in with the local images and rhythms. One important point is that the entire pattern must be an unbroken line, with no gaps to be left anywhere for evil spirits to enter.
Originally Rangoli was done in small patterns — 2 feet square — but now entire floor areas of rooms and hotel foyers are covered in intricate detailed designs. Traditionally, such floor decorations were done only on auspicious occasions or festivals. But today, any occasion is good enough — weddings, birthday parties, opening ceremonies, etc. In the deep South and South West of India and Kerala, flowers are used to create floor art.
Rangoli can be improvised into diverse visual art forms. For instance, it can be used to make elaborate images that look as if they were painted (some examples of such Rangolis: [2],[3],[4],[5],[6]. Sprinkling powder by hand is a very laborious and difficult process, however, and it's difficult to render fine details - meaning the image must be quite large.
In Indian cultures, all guests and visitors occupy a very special place, and a rangoli is an expression of this warm hospitality. In particular, the Diwali festival is widely celebrated with rangoli, since at this time, people visit each other's homes to exchange greetings and sweets.
Rangoli also has a religious significance, enhancing the beauty of the surroundings and spreading joy and happiness all around.