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Art Making How Colors Change Over Distance


Art Making | How Colors Change over Distance
Art Making How Colors Change Over Distance
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The Art Museum is partnering with the Arts Council of Princeton to provide free online watercolor classes. Weekly classes are taught by artist-instructor Barbara DiLorenzo over Zoom. With an emphasis on color mixing and brushwork, each week s lesson will be inspired by works in the Museum s collections. For artists who love to paint landscapes, understanding how light changes over distance is important. In this class we will look closely at Charles Herbert Moore s painting Water Mill, Simplon Village, painting a copy to learn from his choices regarding values, hues, and their saturations in the foreground, middle ground, and background. ....

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Art Making Watercolors Focus On Color Theory

Art Making Watercolors Focus On Color Theory
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Barbara Dilorenzo , Art Museum , Arts Council Of Princeton , Cart Making , Arts Council , பார்பரா டீளோறெஞ்சோ , கலை அருங்காட்சியகம் , கலைகள் சபை ஆஃப் ப்ரிந்ஸ்டந் , கலை தயாரித்தல் , கலைகள் சபை ,

Art Making Watercolors Using Toned Paper And Gouache


Art Making | Watercolors: Using Toned Paper and Gouache
Art Making Watercolors Using Toned Paper And Gouache
Princeton area community website with events, comprehensive business listings, and local information
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The Art Museum is partnering with the Arts Council of Princeton to provide free online watercolor classes. Weekly classes are taught by artist-instructor Barbara DiLorenzo over Zoom. With an emphasis on color mixing and brushwork, each week s lesson will be inspired by works in the Museum s collections. To help push the range of values in their watercolor paintings, many artists use a combination of toned papers instead of pure white, with the assistance of gouache paint to bring back areas of the lightest tones. In this class we will experiment with both, using Arthur Bowen Davies painting The Riviera as an example. ....

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Yearning for touch — a photo essay


Author:
Cherine Fahd
(MENAFN - The Conversation) In late November, I led a participatory performance, A Proxy for a Thousand Eyes , at the Sydney Opera House. Among the performers were three videographers and two photographers. Their role was to record a loosely choreographed routine of touching between myself and the participants who joined me at the specially designed, Covid-safe screens.
The pandemic has highlighted the desire and need for physical contact and the integral role touch plays in socialisation and well-being. COVID-19 has not only forced us to be physically apart but to perceive bodies — both our own and others — as risky. ....

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