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5 days ago · IGAN D' BAYAN’S SILENT AND MACABRE ART. by: Christiane de la Paz. January 2010 -- The art of Igan D’ Bayan is a modern tale of fantasy and domination. It shares many similarities to the works of Tim Burton, Stephen King, Robert Bloch and Alfred Hitchcock whose interests are macabre and quirky--themes, science fictions, mystery, crime and suspense.
1 day ago · So my advice, if you want to develop your style… make bad drawings. Play around in a sketchbook and don’t worry about how bad the drawings might be. Allow yourself to experiment and try things. Copy drawings from other artists to study how they do things. Find a few artists whose styles you like and try to recreate how they draw shapes.
5 days ago · Quirante’s treatment of space was not crowded; his compositions encompass the entire picture surface equally in all places and his use of strongly graphic and biomorphic shapes, phantasmagoric and cartoon-like figures all reveal his psychological ideas and personal visions.
4 days ago · Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.
5 days ago · Claude Monet was a French painter who initiated, led, and unswervingly advocated for the Impressionist style. Monet is known for repeated studies of the same motif in different lights and for his Water Lilies series, which was inspired by his garden at Giverny.
5 days ago · Examples of Good vs. Bad Prompts. Last updated: July 12, 2024. Ever heard the saying “Learning by doing?” By examining real-life examples, you’ll get a handle on what makes a prompt work and where they often fall flat. Let’s dive into the world of crafting great prompts. Analyze and refine.
5 days ago · Regarded by Monet as “bad sketches,” they were precursors of the Impressionist style. Both artists’ Bougival studies interpret the light and movement of outdoor life in strong, abbreviating strokes, improvised at the moment of perception, that serve as equivalents for visual experiences never before committed to canvas in such a direct manner.
