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Graphite Sketching and Anime Art

Art Forum Talk about Art and writing

r3cessr00tline Level 150 Bera Shade 4
I am cementing a large rare earth magnet onto a stand, that is designed to not topple over, so that I have my own personal left hand clamp that has the weighty and sticky effect of a magnet. A thin metal slat will clamp on top of my left hand and that'll have an opening where the wrist is, hitting a straight line in the metal where the hand and wrist meet so the flatness of the hand smooshing part has a tiny line of ruching, psuedo-welded-metal where the opening for your wrist slopes into nothing and the flatness of the top hand clamp slat is rounded over in a miniscule amount on the underneath part touching your hand. I will use this invention to do right-handed art sketches. I will wear a steel watch even with the space where the opening where my wrist is so it attaches to the magnets and place tiny magnets, like the Prime-effects branded one, on top of the memory foam for more convenience since a woman would only want the memory foam on top of the hand anyways. Also, I can place a tiny, flat Alex Chiu rectangle stick magnet I thin out even more into a tight glove aligned along the edge of my hand under the pinky joint. I can do artwork sliding this magnet across a magnet I put paper on as its' table to lift my hand off less. I'll make a tight glove for my left hand that I line the inside w/ memory foam that I treated by placing it in propolis beeshive glue and swiped a few times with ionic heat.

My left hand can be clamped when I do artwork; pressing the bony digit joint of my pinky of my right hand into my art paper to balance my graphite pencil. Imagine a very good heater is in front of me as well. Graphite can be erased lightly and with care at where you can finalize it w/ how you want to trace to color your work or matte out shading sheen. Oil renaissance paper made of marble gypsum and rat-skin gesso, like hard, dry Palo Santo resin with selenite powder, is able to be dried and made more matte to press into canvas ducking texture with heat, clean, dry fingers, and art thinner patted onto the back of the sheet sanded off the paper you dried it on. A flat renaissance painting look can be achieved.
My evidence:

Here is a lovely p.s. note that helps you envision the high femme feelings in my invention idea:

The one depicted female artist painter in the Decalogue series by the infamous an dante demimonde director Krzysztof Kieslowski lets me connect with her on various minute body languages: Today I put to press-fat, an extracted oil of cedarwood I shaved into a tiny ort of the shortest, used pencils of high quality art charcoal color that is typically very expensive. The barrel of the branded pencils were the cedarwood. I melted the pigment in the barrels out with artists' low-odour paint thinner. I pressed with my fingers, the colored oil out of the wood pulp and cleaned my hands with anti-cancer washing products that I put on a towel at intervals until I juiced the pulp of all the pricey pigment. I made sure I amped up the interval count to make sure I kept my skin on my fingers from hardening while I finished taking all the valuable parts. The oil paint that I just extracted can be refilled into a refillable ink cartidge that is meant for a certain type of art dispenser.

Invisible color theory may be as brittle in honest demitasse as would be a person doing something that might look like them doing nothing perceptible, so that onlookers notice that the person is adding definitely what looks to be aesthetically pleasing value to their artwork when their hand might just be moving over their work when in fact masculinity is undermined by its' need for startling surprise in an artists' technique, when perhaps a woman such as the artist depicted in Dekalogue may place maturity as intent in her use of melancholic Gewashcen(ambiguous shape) and narrow color selection for her obviously calx(remaining calcified mineral) inspired theme. There is a definite cynosure similar to a picayune when it comes to a minimalist invisible color theory I came up with bamboo high quality base with cheap color that will dissipate: invisible color replacement, equivalent to tracing over the original work with what would be it's exact invisibility of setting archive qualitiness into the individually valuable work one did with a nicely designed pencil to enthuse one; Crenellating aestethics of American and European motivation to use an metro/cosmopolitan market-oriented tool. The enticing consistency of non-waxy, chalky art on a tooth, like a feather-sanded wood canvas is how I imagine the calx medium artist in our movie would be inspired.

I met a black graphite artist who does human body sketches in graphite for his private art grant givers who shantied him up in a luxury apartment in downtown San Jose, CA. He had invited me and my friends over for a house party to share his artistic lifestyle wealth. When I looked at his use of graphite, I knew he uses a ton of control for his artwork, so that he could probably only tint-treat his paper with sketching color that becomes melded with graphite as an erasable black to progress his work, which would be equivalent to making color work as easily as graphite , or in other words, a tussock is how art tools that are not graphite would seem to such a artist, nonetheless he were not callow, as he were in my passive aggressive opinion.

Ocean park series of Richard Diebenkorn's art sketches-pentimento is on a test for Modern-European Art in the university Northern renaissance fulfillment for education. A thesis thereupon that undermines this could be art secco, forsaken art secco does not deny the use of oil, since oil can be erased without ruining the drawing paper's tooth, but glycerin or beeswax is just too waxy for anything in applied art but to make more pentimento, since it would leave gunky grey residue or film when erased and it would bunt and ruin the tooth so that new forms of erasing, or rather overlaying your non-intended mistake which is pretty cogent in-itself. (Here are my research sources: and But a mistake would be a form of idealism that makes it so that the artist intending it to stay within his/her painting would be the judge of beauty in one instance and non-robotic or destructive of aesthetic value for photorealisms' utter definition of literalism; foregoing the latter would indeed lend political believability to its' denier.

Art critic republicans probably pay the universities to hire an art theory director whom would be willing to make an objectivist appeal that demarcates, "There are lines in nature in order to prod non-reticulated femme self-identities to prove otherwise: An art history professor may claim as a depicted mimesis of a autonomous and perhaps socialist(as in Gewaschen and subtle naturalist art) artist or even high femme; understanding you are to not take sketching utensil off of your drawing paper as you sketch a face. And we know a face could be in reductive art, not the literal reductive cubist art, but rather essential abstractionism, Gewaschen in its' thematic ambiguity of non-repetitive masculine(rectangular) architecture of all-throughout developed era art history.

High brow negative motivation or cynosure as were if your art could be created and left in this world so long as the artist does not provoke the work they just did in stint is totally ignored so that what is made by the individual and placed in this world cannot get up and walk itself into its' erasure: In an analogy Haberma's found art or Hitler's art museum could betoken an ironic femme subversion wherein the metallic pencil that shimmers is patted until its' mute; standardizing romance for any given artist to sketch metallic realism without. Without here means that the paper or canvas can be the metallic light reflection whereas the other pencil strokes contrasts for the illusion of such monetary intent or the elite art value-orienteer whom is the fine art master.
Posted: January 2018 Permalink


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