Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - Shamsuddin

Pages: 1 [2] 3 4 ... 12
16
Faculty Forum / 6 Reasons to Drink Water
« on: March 13, 2014, 12:29:46 PM »
6 Reasons to Drink Water

Americans seem to carry bottled water everywhere they go these days. In fact, it has become the second most popular drink (behind soft drinks). But water lovers got a jolt recently when we heard that a new report had found that the benefits of drinking water may have been oversold. Apparently, the old suggestion to drink eight glasses a day was nothing more than a guideline, not based on scientific evidence.
But don't put your water bottle or glass down just yet. While we may not need eight glasses, there are plenty of reasons to drink water. In fact, drinking water (either plain or in the form of other fluids or foods) is essential to your health.
"Think of water as a nutrient your body needs that is present in liquids, plain water, and foods. All of these are essential daily to replace the large amounts of water lost each day," says Joan Koelemay, RD, dietitian for the Beverage Institute, an industry group.
Kaiser Permanente nephrologist Steven Guest, MD, agrees: "Fluid losses occur continuously, from skin evaporation, breathing, urine, and stool and these losses must be replaced daily for good health," he says.
When your water intake does not equal your output, you can become dehydrated. Fluid losses are accentuated in warmer climates, during strenuous exercise, in high altitudes, and in older adults, whose sense of thirst may not be as sharp.

Here are six reasons to make sure you're drinking enough water or other fluids every day:
1. Drinking Water Helps Maintain the Balance of Body Fluids. Your body is composed of about 60% water. The functions of these bodily fluids include digestion, absorption, circulation, creation of saliva, transportation of nutrients, and maintenance of body temperature.
"Through the posterior pituitary gland, your brain communicates with your kidneys and tells it how much water to excrete as urine or hold onto for reserves," says Guest, who is also an adjunct professor of medicine at Stanford University.
When you're low on fluids, the brain triggers the body's thirst mechanism. And unless you are taking medications that make you thirsty, Guest says, you should listen to those cues and get yourself a drink of water, juice, milk, coffee -- anything but alcohol.
"Alcohol interferes with the brain and kidney communication and causes excess excretion of fluids which can then lead to dehydration," he says.

2. Water Can Help Control Calories. For years, dieters have been drinking lots of water as a weight loss strategy. While water doesn't have any magical effect on weight loss, substituting it for higher calorie beverages can certainly help.
"What works with weight loss is if you choose water or a non-caloric beverage over a caloric beverage and/or eat a diet higher in water-rich foods that are healthier, more filling, and help you trim calorie intake," says Penn State researcher Barbara Rolls, PhD, author of The Volumetrics Weight Control Plan.
Food with high water content tends to look larger, its higher volume requires more chewing, and it is absorbed more slowly by the body, which helps you feel full. Water-rich foods include fruits, vegetables, broth-based soups, oatmeal, and beans.

3. Water Helps Energize Muscles. Cells that don't maintain their balance of fluids and electrolytes shrivel, which can result in muscle fatigue. "When muscle cells don't have adequate fluids, they don't work as well and performance can suffer," says Guest.
Drinking enough fluids is important when exercising. Follow the American College of Sports Medicine guidelines for fluid intake before and during physical activity. These guidelines recommend that people drink about 17 ounces of fluid about two hours before exercise. During exercise, they recommend that people start drinking fluids early, and drink them at regular intervals to replace fluids lost by sweating.

4. Water Helps Keep Skin Looking Good. Your skin contains plenty of water, and functions as a protective barrier to prevent excess fluid loss. But don't expect over-hydration to erase wrinkles or fine lines, says Atlanta dermatologist Kenneth Ellner, MD.
"Dehydration makes your skin look more dry and wrinkled, which can be improved with proper hydration," he says. "But once you are adequately hydrated, the kidneys take over and excrete excess fluids."
You can also help "lock" moisture into your skin by using moisturizer, which creates a physical barrier to keep moisture in.

5. Water Helps Your Kidneys. Body fluids transport waste products in and out of cells. The main toxin in the body is blood urea nitrogen, a water-soluble waste that is able to pass through the kidneys to be excreted in the urine, explains Guest. "Your kidneys do an amazing job of cleansing and ridding your body of toxins as long as your intake of fluids is adequate," he says.
When you're getting enough fluids, urine flows freely, is light in color and free of odor. When your body is not getting enough fluids, urine concentration, color, and odor increases because the kidneys trap extra fluid for bodily functions.
If you chronically drink too little, you may be at higher risk for kidney stones, especially in warm climates, Guest warns.

6. Water Helps Maintain Normal Bowel Function. Adequate hydration keeps things flowing along your gastrointestinal tract and prevents constipation. When you don't get enough fluid, the colon pulls water from stools to maintain hydration -- and the result is constipation.
"Adequate fluid and fiber is the perfect combination, because the fluid pumps up the fiber and acts like a broom to keep your bowel functioning properly," says Koelemay.



Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA Dept.

17
Faculty Forum / Top 10 health benefits of walking every day
« on: March 12, 2014, 06:14:33 PM »
Top 10 health benefits of walking every day

It’s a gentle, low-impact form of exercise that’s easy, free and suitable for people of all ages and most abilities. Here’s why it’s so good for you

1. It strengthens your heart
Regular walking has been shown to reduce your risk of heart disease and stroke. It lowers levels of LDL (bad) cholesterol while increasing levels of HDL (good) cholesterol and keeps blood pressure in check.
"Anything that raises your heart rate and gets your blood pumping is a workout for your heart and circulatory system," says personal trainer Stuart Amory. According to the Stroke Association, walking briskly for up to 30 minutes can help prevent and control the high blood pressure that can cause strokes – reducing your risk by up to 27 per cent.

2. It lowers disease risk
As well as heart disease, a walking habit can slash your risk of developing type 2 diabetes, asthma and some cancers. A study in the British Medical Journal showed taking more steps every day can help ward off diabetes. And according to the charity Walking For Health, regular exercise such as walking could reduce risk by up to 60 per cent. Those of us who are active have around a 20 per cent lower risk of developing cancer of the colon, breast and womb than those least active.

3. It keeps weight in check
"If you’re trying to lose weight, you need to burn about 600 calories a day more than you’re eating," says Amory. "Putting one foot in front of the other is one of the easiest ways to do that." A person weighing 60kg burns 75 calories simply by strolling at 2mph for 30 minutes. Increase that to 3mph and they’ll burn 99 calories. Speed it up to a fast walk (4mph) and that’s 150 calories – the equivalent of three Jaffa Cakes or a jam doughnut. "Walking also increases muscle mass and tone and the more muscle you have, the faster your metabolism – so the more calories you burn, even at rest," he adds.

4. It can help prevent dementia
Dementia affects one in 14 people over 65 and one in six over 80. We know being active has a protective effect on brain function and regular exercise reduces dementia risk by up to 40 per cent. And, according to Age UK, older people who walk six miles or more per week could avoid brain shrinkage and so preserve memory as the years pass.

5. ...and osteoporosis, too
"Walking counts as a weight-bearing activity," says Amory. "It stimulates and strengthens bones, increasing their density – really important, especially for women. It also helps maintain healthy joints so may stave off conditions such as arthritis."

6. It tones your legs, bum – and tum
A good walk can help strengthen and shape your legs, giving great definition to calves, quads, hamstrings and lifting your glutes (buttock muscles) – especially if you add hills. But if you really pay attention to your posture as you walk, it can tone your abs and whittle your waist, too.
Fitness expert Joanna Hall is founder of the Walkactive method of 'conscious' walking for better posture and overall fitness results. She says: "Think about lengthening up through your spine to create space between your earlobes and shoulders. Relax your shoulders, pull in your tummy and pelvic floor and imagine you have a cup of water balanced on top of each hip bone that you don’t want to spill. As you walk with this posture, your shoulders will naturally rotate and this works your oblique abdominal muscles – you’ll be taking inches off your waist with every step." Check out these 12 fitness videos on how to tone your body.

7. Let’s not forget your arms
"Your speed when walking comes from your arms," says Hall. "Hold them at a comfortable level, bent at the elbow, and swing them backwards and forwards as you walk. Swing them faster and you’ll automatically speed up. And all this movement tones your arms, shoulders and upper back." Bye bye, bingo wings!

8. It boosts your vitamin D levels
If you’re walking outside in daylight, you’ll be boosting your body’s stores of vitamin D – a nutrient that’s hard to get from food, but that we can synthesise from exposure to sunlight. Many people in the UK are deficient in vitamin D and it’s a nutrient that plays a big role in everything from bone health to immunity. While sun safety is still important, experts agree that exposing as much skin as you can to the sun, little and often and without burning, will help you to produce sufficient vitamin D.

9. It gives you energy
It might seem like a paradox (and the last thing you might feel like) but a brisk walk is one of the best natural energizers around. It boosts circulation and increases oxygen supply to each and every cell in your body, helping you to feel more alert and alive. It wakes up stiff joints and eases muscle tension so you feel less sluggish. Always have a mid-afternoon energy slump at work? Head out for a walk at lunchtime instead of sitting in a café or at your desk and see what a difference it makes. Here are some other quick ways to boost your energy levels.

10. It makes you happy
The ability of exercise to boost mood is undisputed. Studies have shown regular, moderate-intensity exercise (such as brisk walking) to be as effective as antidepressants in cases of mild to moderate depression. Getting active releases feel-good endorphins into the bloodstream, reducing stress and anxiety. And don’t forget it’s often a social activity – joining a walking group or meeting friends to walk and chat is a great way to banish feelings of isolation and loneliness. A survey by the charity Mind found 83 per cent of people with mental health issues look to exercise to help lift their mood. For greatest benefit, they say, get active outdoors and somewhere green. Check out our tips on how to join a walking group.


Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA Dept.

18
MCT / Image and type
« on: March 11, 2014, 05:16:48 PM »
Image and type
Designers often combine images and typography to communicate a client's message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them.

Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What's more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product.



Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA Dept.

19
MCT / Type-based design
« on: March 11, 2014, 05:10:04 PM »
Type-based design
In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.

When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.


Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA Dept.

20
MCT / Image-based design
« on: March 11, 2014, 04:56:05 PM »
Image-based design
Designers develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun.

In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words.


Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA Dept.

21
MCT / Lithography
« on: March 03, 2014, 09:10:54 PM »
Lithography


Lithography (from Greek λίθος, lithos, "stone" and γράφειν, graphein, "to write") is a method of printing originally based on the principle that oil and water do not mix. Printing is from a stone (lithographic limestone) or a metal plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a cheap method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material.
Lithography originally used an image drawn with oil, fat, or waxes onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum Arabic, etching the portions of the stone which were not protected by the grease-based image. When the stone was subsequently moistened, these etched areas retained water; an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a blank paper sheet, producing a printed page. This traditional technique is still used in some fine art printmaking applications.
In modern lithography, the image is made of a polymer coating applied to a flexible aluminum plate. The image can be printed directly from the plate (the orientation of the image is reversed), or it can be offset, by transferring the image onto a flexible sheet (rubber) for printing and publication.
As a printing technology, lithography is different from intaglio printing (gravure), wherein a plate is engraved, etched, or stippled to score cavities to contain the printing ink; and woodblock printing or letterpress printing, wherein ink is applied to the raised surfaces of letters or images. Today, most types of high-volume books and magazines, especially when illustrated in colour, are printed with offset lithography, which has become the most common form of printing technology since the 1960s. The word lithography also denotes photolithography, a microfabrication technique used in the microelectronics industry to make integrated circuits andmicroelectromechanical systems.


Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
Dpt. of MTCA

22
MCT / Typographic ligature
« on: March 01, 2014, 03:54:54 PM »
Typographic ligature

In writing and typography, a typographic ligature occurs where two or more graphemes or letters are joined as a single glyph. Ligatures usually replace consecutive characters sharing common components and are part of a more general class of glyphs called "contextual forms", where the specific shape of a letter depends on context such as surrounding letters or proximity to the end of a line.



Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA Dept.

23
MCT / Communicating Effectively In the Visual Age
« on: February 27, 2014, 05:40:03 PM »
Communicating Effectively In the Visual Age

Visual communication is everywhere today, from electronic media like Web pages and television screens to environmental contexts such as road signs and retail displays. As the National Education Association has pointed out,”Western civilization has become more dependent than ever on visual culture, visual artifacts, and visual communication as a mode of discourse and a means of developing a social and cultural identity.” 1 That’s an interesting observation, but what’s even more intriguing is that there is evidence to suggest that people not only communicate visually more than ever, they also communicate better when they communicate visually. This is an important revelation to those who create presentations for work or education and who want to make those presentations as compelling and effective as possible. This paper is designed to help presenters make the most of this information by describing the evidence for the power of visual communication, identifying the key components of effective visual presentations and discussing the technologies that make it possible to use these components to craft more successful presentations. 


Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA Dpt.

24
MCT / Symbol
« on: February 27, 2014, 04:57:48 PM »
Symbol

A symbol is an object that represents, stands for, or suggests an idea, visual image, belief, action, or material entity. Symbols take the form of words, sounds, gestures, or visual images and are used to convey ideas and beliefs. For example, a red octagon may be a symbol for "STOP". On a map, a picture of a tent might represent a campsite. Numerals are symbols for numbers. Personal names are symbols representing individuals. A red rose symbolizes love and compassion.

Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA Dpt.

25
MCT / Digital Photography
« on: February 26, 2014, 05:35:26 PM »
Digital Photography

Are you a beginner looking for good digital photography tutorials? The great news for you is there’s plenty of free online tutorials and guides to help you get started with digital photography. In this article, I’ve put together 10 of the best beginner-level photography tutorials I could find. I also listed additional websites at the end where you can find even more beginner-level tutorials, guides, and blog posts on digital photography.
This free online course on PhotographyCourse.net is divided into 8 information-packed lessons interspersed with useful illustrations to help you grasp the topics being discussed. The site’s original author is Skip Heine, an award-winning photographer who’s been nominated for the Pulitzer Prize on two occasions.
Pro photographer Alexandre Buisse ran a free online course on the social news site Reddit, which can be found in a Subreddit called photoclass. The online class is divided into 6 parts covering gear, exposure, post-processing and so forth. Check out the Subreddit to see the comments (which is valuable towards learning too) left by redditors participating in the class.
This series of 9 video tutorials on YouTube covers the fundamentals of DSLR photography. Each episode in this series goes over subjects such as exposure, RAW vs. JPG, color management, and more.
morgueFile, one of the oldest and most popular sites for finding user-submitted free stock photos, has an online class aimed at beginners that want to learn about photography. The class, written by award-winning photographer Jodie Coston, contains 10 lessons. The lessons discuss fundamental photography concepts like composition, aperture and shutter speed, and much more.
This extensive guide, written from a beginner’s standpoint, contains information about digital photography that the author learned while he was still also just starting out. The guide covers a huge quantity of topics like focal length, metering, filters, etc. The guide contains plenty of images and illustrations that will help you understand the material.
This is the course syllabus and notes of professor Marc Levoy for his introduction to digital photography class at Standford University. If you want to learn the inner workings of your camera, and learn digital photography from a highly technical level, this is a great learning resource.
This short tutorial will introduce you to terms and concepts that you’ll encounter as you learn more about digital photography.
This series of beginner-level tutorials on the site Cambridge in Color, an online learning community for photographers, contains illustrated guides and tutorials focusing in on basics of digital photography. The series of tutorials is categorized into 5 major parts, starting with tutorials on concepts and terminology and ending with specific digital photography techniques and styles.
If you’re thinking about becoming a photographer — whether as a hobby or as a profession — the first thing you’ll need is a camera. Also, you’ll eventually have to learn how your camera works in order to get the most out of your tool. This beginner-level guide on digital cameras will give you a ton of information on the inner workings and features of digital cameras.
The owner of this website, Michael Reichmann, has been a professional photographer for over 40 years, and has put together a series of tutorials covering photography fundamentals where he discusses specific components of photography such as exposure, resolution of images, image sharpness and much more. Also check out the Tutorials category for more tutorials from The Luminous Landscape.


Source: Internet
Abu Kalam Shamsuddin
Senior Lecturer
MTCA dept.

26
MCT / Matte painting
« on: December 12, 2013, 10:46:52 AM »
Matte painting

A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is nonexistent in real life or would otherwise be too expensive or impossible to build or visit. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage. At its best, depending on the skill levels of the artists and technicians, the effect is "seamless" and creates environments that would otherwise be impossible to film.

Background
Traditionally, matte paintings were made by artists using paints or pastels on large sheets of glass for integrating with the live-action footage.The first known matte painting shot was made in 1907 by Norman Dawn (ASC), who improvised the crumbling California Missions by painting them on glass for the movie Missions of California. Notable traditional matte-painting shots include Dorothy’s approach to the Emerald City in The Wizard of Oz, Charles Foster Kane’s Xanadu in Citizen Kane, and the seemingly bottomless tractor-beam set of Star Wars Episode IV: A New Hope. The first Star Wars documentary ever made (The Making of Star Wars, directed by Robert Guenette in 1977 for television) mentioned the technique used for the tractor beam scene as being a glass painting.
By the mid-1980s, advancements in computer graphics programs allowed matte painters to work in the digital realm. The first digital matte shot was created by painter Chris Evans in 1985 for Young Sherlock Holmes for a scene featuring a computer-graphics (CG) animation of a knight leaping from a stained-glass window. Evans first painted the window in acrylics, and then scanned the painting into LucasFilm’s Pixar system for further digital manipulation. The computer animation (another first) blended perfectly with the digital matte, something a traditional matte painting could not have accomplished.

New technologies
Throughout the 1990s, traditional matte paintings were still in use, but more often in conjunction with digital compositing. Die Hard 2: Die Harder (1990) was the first film to use digitally composited live-action footage with a traditional glass matte painting that had been photographed and scanned into a computer. It was for the last scene, which took place on an airport runway. By the end of the decade, the time of hand-painted matte paintings was drawing to a close, although as late as 1997 some traditional paintings were still being made, notably Chris Evans’ painting of the Carpathia rescue ship in James Cameron’s Titanic.
Paint has now been superseded by digital images created using photo references, 3-D models, and drawing tablets. Matte painters combine their digitally matte painted textures within computer-generated 3-D environments, allowing for 3-D camera movement. Lighting algorithms used to simulate lighting sources expanded in scope in 1995, when radiosity rendering was applied to film for the first time in Martin Scorsese’s Casino. Matte World Digital collaborated with LightScape to simulate the indirect bounce-light effect[8] of millions of neon lights of the 70s-era Las Vegas strip. Lower computer processing times continue to alter and expand matte painting technologies and techniques.

Significant matte painting shots
The army barracks in All Quiet On The Western Front (1930).
Count Dracula's castle exteriors in Dracula (1931) and other scenes.
The view of Skull Island in King Kong (1933).
The view of Nottingham Castle in The Adventures of Robin Hood (1938).
The 1942 spy thriller Saboteur, directed by Alfred Hitchcock, is enhanced by numerous matte shots, ranging from a California aircraft factory to the climactic scene atop New York's Statue of Liberty.[10]
In Alfred Hitchcock's North by Northwest (1959) shots of the The United Nations building, Mount Rushmore and the Mount Rushmore house.
Birds flying over Bodega Bay, looking down at the town below, in Alfred Hitchcock's The Birds (1963).
Mary Poppins gliding over London with her umbrella (1964), the St Paul's Cathedral and London's rooftops and aerial views.
The iconic image of the Statue of Liberty at the end of Planet of the Apes (1968).
The rooftops of Portobello Road in Bedknobs and Broomsticks (1971) won an Academy Award.
The city railway line in The Sting (1973).
Views of a destroyed Los Angeles in Earthquake (1974) for which Albert Whitlock won an Academy.




Source: Internet
Abu Kalam Shamsuddin
Lecturer
MTCA

27
MCT / Europe(Water color)
« on: December 09, 2013, 11:37:44 AM »
Europe(Water color)


Watercolor was less popular on the Continent, though many fine examples were produced by French painters, including Eugène Delacroix, François Marius Granet, Henri-Joseph Harpignies and the satirist Honoré Daumier.

Unfortunately the careless and excessive adoption of brightly colored, petroleum–derived aniline dyes (and pigments compounded from them), which all fade rapidly on exposure to light, and the efforts to properly conserve the 20,000 Turner paintings inherited by the British Museum in 1857, led to an examination and negative re-evaluation of the permanence of pigments in watercolor. This caused a sharp decline in their status and market value. Nevertheless, isolated exponents continued to prefer and develop the medium into the 20th century. In Europe, gorgeous landscape and maritime watercolors were produced by Paul Signac, and Paul Cézanne developed a watercolor painting style consisting entirely of overlapping small glazes of pure color.
20th century
Among the many 20th-century artists who produced important works in watercolor, mention must be made of Wassily Kandinsky, Emil Nolde, Paul Klee, Egon Schiele and Raoul Dufy; in America the major exponents included Charles Burchfield, Edward Hopper, Georgia O'Keeffe, Charles Demuth, and John Marin, 80% of whose total output is in watercolor. In this period American watercolor (and oil) painting was often imitative of European Impressionism and Post-Impressionism, but significant individualism flourished within "regional" styles of watercolor painting in the 1920s to 1940s, in particular the "Cleveland School" or "Ohio School" of painters centered around the Cleveland Museum of Art, and the "California Scene" painters, many of them associated with Hollywood animation studios or the Chouinard Art Institute (now California Institute of the Arts). The California painters exploited their state's varied geography, Mediterranean climate and "automobility" to reinvigorate the outdoor or "plein air" tradition; among the most influential were Phil Dike, Millard Sheets, Rex Brandt, Dong Kingman and Milford Zornes. The California Water Color Society, founded in 1921 and later renamed the National Watercolor Society, sponsored important exhibitions of their work.
Although the rise of abstract expressionism, and the trivializing influence of amateur painters and advertising- or workshop-influenced painting styles, led to a temporary decline in the popularity of watercolor painting after c.1950, watercolors continue to be utilized by artists such as Joseph Raffael, Andrew Wyeth, Philip Pearlstein, Eric Fischl, Gerhard Richter, Anselm Kiefer and Francesco Clemente. In Spain, Ceferí Olivé created an innovative style, also followed by his students, such as Rafael Alonso López-Montero and Francesc Torné Gavaldà. In Mexico the major exponents are Ignacio Barrios, Edgardo Coghlan, Ángel Mauro, Vicente Mendiola and Pastor Velázquez.
Modern watercolor paints are now as durable and colorful as oil or acrylic paints, and the recent renewed interest in drawing and multimedia art has also stimulated demand for fine works in watercolor. As art markets continue to expand, painting societies continue to add members and aging baby boomers increasingly retire to more contemplative hobbies, watercolor on both the amateur and professional levels continues to become more and more popular.
An example of contemporary Conceptual Water color. David Horvitz, from his series Watercolor Shoplifting series, watercolors depicting objects he's stolen that he photographs and posts online



Source: Internet
Abu Kalam Shamsuddin
Lecturer
MTCA

28
MCT / English school (Water color)
« on: December 09, 2013, 10:19:33 AM »
English school (Water color)

Several factors contributed to the spread of watercolor painting during the 18th century, particularly in England. Among the elite and aristocratic classes, watercolor painting was one of the incidental adornments of a good education, especially for women. By contrast, watercoloring was also valued by surveyors, mapmakers, military officers and engineers for its usefulness in depicting properties, terrain, fortifications or geology in the field and for illustrating public works or commissioned projects. Watercolor artists were commonly brought with the geological or archaeological expeditions funded by the Society of Dilettanti (founded in 1733) to document discoveries in the Mediterranean, Asia and the New World. These stimulated the demand for topographical painters who churned out memento paintings of famous sites (and sights) along the Grand Tour to Italy that was undertaken by every fashionable young man of the time. In the late 18th century, the English cleric William Gilpin wrote a series of hugely popular books describing his "picturesque" journeys throughout rural England and illustrated with his own sentimentalized monochrome watercolors of river valleys, ancient castles and abandoned churches; his example popularized watercolors as a form of personal tourist journal. The confluence of these cultural, engineering, scientific, tourist and amateur interests culminated in the celebration and promotion of watercolor as a distinctly English "national art". Among the many significant watercolor artists of this period were Thomas Gainsborough, John Robert Cozens, Francis Towne, Michael Angelo Rooker, William Pars, Thomas Hearne and John Warwick Smith. William Blake published several books of hand-tinted engraved poetry, illustrations to Dante's Inferno, and he also experimented with large monotype works in watercolor.

From the late 18th century through the 19th century, the market for printed books and domestic art contributed substantially to the growth of the medium. Watercolors were the used as the basic document from which collectible landscape or tourist engravings were developed, and handpainted watercolor originals or copies of famous paintings contributed to many upper class art portfolios. Satirical broadsides by Thomas Rowlandson, many published by Rudolph Ackermann, were also extremely popular.
The three English artists credited with establishing watercolor as an independent, mature painting medium are Paul Sandby (1730–1809), often called "the father of the English watercolor", Thomas Girtin (1775–1802), who pioneered its use for large format, romantic or picturesque landscape painting, and Joseph Mallord William Turner (1775–1851), who brought watercolor painting to the highest pitch of power and refinement and created with it hundreds of superb historical, topographical, architectural and mythological paintings. His method of developing the watercolor painting in stages, starting with large, vague color areas established on wet paper, then refining the image through a sequence of washes and glazes, permitted him to produce large numbers of paintings with workshop efficiency and made him a multimillionaire in part through sales from his personal art gallery, the first of its kind. Among the important and highly talented contemporaries of Turner and Girtin were John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer, William Havell and Samuel Prout. The Swiss painter Louis Ducros was also widely known for his large format, romantic paintings in watercolor.



Source: Internet
Abu Kalam Shamsuddin
Lecturer
MTCA

29
MCT / Watercolor painting
« on: December 09, 2013, 10:07:03 AM »
Watercolor painting

Watercolor (American English) or watercolor (Commonwealth and Ireland), also aquarelle from French, is a painting method. A watercolor is the medium or the resulting artwork in which the paints are made of pigments suspended in a water-soluble vehicle. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors. Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Finger-painting with watercolor paints originated in China.

History
Although watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illumination since at least Egyptian times but especially in the European Middle Ages, its continuous history as an art medium begins in the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528) who painted several fine botanical, wildlife and landscape watercolors, is generally considered among the earliest exponents of the medium. An important school of watercolor painting in Germany was led by Hans Bol (1534–1593) as part of the Dürer Renaissance.
Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons (full-scale design drawings). Among notable early practitioners of watercolor painting were Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, Botanical illustrations and those depicting wildlife are perhaps the oldest and most important tradition in watercolor painting. Botanical illustrations became popular in the Renaissance, both as hand tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Botanical artists have always been among the most exacting and accomplished watercolor painters, and even today watercolors—with their unique ability to summarize, clarify and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings. Many watercolors are more vibrant in pigment if they are higher quality. Some British market watercolors can be found in many craft stores In America and in other countries too.



Source: Internet
Abu kalam Shamsuddin
Lecturer
MTCA

30
MCT / Impasto
« on: December 08, 2013, 12:43:30 PM »
Impasto

In English, the borrowed Italian word impasto most commonly refers to a technique used in painting, where paint is laid on an area of the surface (or the entire canvas) very thickly, usually thickly enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas. When dry, impasto provides texture; the paint appears to be coming out of the canvas.
The word impasto is Italian in origin; in that language it means "dough" or "mixture"; the verb "impastare" translates variously as "to knead", or "to paste". Italian usage of "impasto" includes both a painting and a potting technique. According to Webster's New World College Dictionary, the root noun of impasto is pasta, whose primary meaning in Italian is paste.
Oil paint is most suitable to the impasto painting technique, due to its thickness and slow drying time. Acrylic paint can also be impastoed. Impasto is generally not possible in watercolour or tempera without the addition of thickening agent due to the inherent thinness of these media. An artist working in pastels can produce a limited impasto effect by pressing a soft pastel firmly against the paper.
Impastoed paint serves several purposes. First, it makes the light reflect in a particular way, giving the artist additional control over the play of light on the painting. Second, it can add expressiveness to the painting, the viewer being able to notice the strength and speed applied by the artist. Third, impasto can push a painting into a three dimensional sculptural rendering. The first objective was originally sought by masters such as Rembrandt, Titian, and Vermeer, to represent folds in clothes or jewels: it was then juxtaposed with more delicate painting. Much later, the French Impressionists created entire canvases of rich impasto textures. Vincent van Gogh used it frequently for aesthetics and expression. Abstract expressionists such as Hans Hofmann and Willem de Kooning also made extensive use of it, motivated in part by a desire to create paintings which dramatically record the "action" of painting itself. Still more recently, Frank Auerbach has used such heavy impasto that some of his paintings become almost three-dimensional.
Because impasto gives texture to the painting, it can be opposed to flat, smooth, or blending techniques.


Source: Internet
Abu Kalam Shamsuddin
Lecturer
MTCA

Pages: 1 [2] 3 4 ... 12