Acrylic Paint

17 Jun 19
COOL HUNTING
Instantly striking and undoubtedly worthy of a closer look, Jon Barwick‘s painted works boast immense depth—the kind that calls to mind dense city spaces. Offering one scene upon first glance and hundreds more when you’re mere inches away, the paintings are smattered with motifs and objects that jut out toward the viewer and back into a seemingly distant abyss. All of this happens courtesy of acrylic on canvas—oftentimes large-scale. “Extra-Dimensional” (2018) Courtesy of Jon Barwick The University of Georgia-trained artist refers to the genre of his work as “visionary.” He’s concentrated on this specific style now for 15 years. For viewers, it lies somewhere between a fish-eyed portrayal of a future-forward city and imagery from a space-based art film. “My imagination is my main resource,” he says. “I like to be able to invent stuff. Not that everything I’m inventing—if I need a dodecahedron rendered perfectly, I have to go to the internet. But for my resources I always go back to my imagination and drawing and doodles. It helps with originality. If your resource is inside it’s harder for people to copy.” by Evan Malachosky “[The category] my work can fall in is called visionary art,” he reiterates. “Not that I’m some artistic genius, but ‘visionary’ just in that the imagery is derived from your internal visions and not so much the outside world. Although obviously everything inside your head somehow starts on the outside world.” His pieces, specifically those that occupy every single swatch of the canvas, seem to have no starting point. It’s not that they’re unorganized (if you look closely you’re sure to find layer upon layer of details without smudging or amorphousness), but they do not direct viewers’ attention to any single point. They have an almost gravitational pull that can be difficult to escape. Even Barwick admits that he’ll return to a piece and find objects or intersections he’d forgotten he painted. by Evan Malachosky “People are like, ‘Oh, you must love sci-fi,'” he says, referring to the sort of intergalactic feel of his pieces. “But actually no, I don’t really like it as a genre. I don’t watch sci-fi movies. I don’t read comic books.” His interests are rooted in places and things and less in the vein of the abstract worlds people expect him to enjoy. “I like architecture almost just as much as contemporary art. I can pull just as much inspiration just looking up in the air,” he says. “Geometry, form, pattern, repetition. I love modern art. I like paintings by artists who are alive and working today.” by Evan Malachosky He also mentions a few childhood experiences that have made their way into his work—and have arguably become his most-used motif. “I was fascinated with rocks when I was a kid,” he says. “I liked minerals and went with my dad digging in old mines for gems. I was drawn to crystals and that form—the color form—for whatever reason.” by Evan Malachosky Inside Barwick’s Upper West Side studio, his pieces hang on the wall above a bright orange couch, sit in a stack in corner of the room and haunt (this time a paper work for an upcoming installation) from above. Crystals protrude from the wall at various heights too. “I don’t ever start with a big plan,” he says, of his process. Though some visual themes appear in multiple pieces, there certainly isn’t a repeatable formula behind his work. “Sure, I might set some parameters, [and then] it’s almost like a game. I will start with a motif and then I’ll just put it down and then put something else down and then I have a starting point and it’ll inform my next decisions. I have all kinds of imagery I’ve been developing so that if I’m stuck, I can just come up with something.” “String Theory” (2015) Courtesy of Jon Barwick “The thing about layering is you always are going to end up having to cover up something,” he continues. “So, the thing is to find the moments that are most exciting and let those come to the front. Then if something is not as successful, you can cover it up. Painting is very forgiving. If you don’t like something, you just paint over it.” by Evan Malachosky Barwick’s process is rooted in session painting. He’ll find himself in front of the canvas until he’s happy with what’s there. Sometimes pieces take four to five weeks—though he cannot pinpoint exactly how many hours he’s allocated to each piece. Other works, like a few smaller canvases he’s shipping off to a show in Scotland, inherently move more quickly. His paper works require similar shifts; he’ll pull from his lexicon of imagery and rapidly apply them as he sees fit. “People will see a picture on Instagram and they’re like, ‘Is this digital?’ or ‘What program did you use?'” he says. “I get a kick out of it. If people think a computer made this work, I’m like, ‘Sure, I’m fine with that.’ But obviously if you see it in person you’ll see and feel that the layers are physical.” Hero image: “Eyes in the Sky” (2016) courtesy of Jon Barwick
17 Jun 19
David Armitage

My latest series of paintings, inspired by landscapes and our precious planet Earth. Semi-abstract, giving an impression or an unconventional view. These paintings are created on paper, utilising techniques which I have developed in both branches of my practice – painting and illustration. Inks, watercolour, dyes, acrylic and a form of monoprint are combined to […]

17 Jun 19
ArtFoodHome.com
17 Jun 19
Abstract Canvas

They say music is the most complex art, and there has been no one to contradict this affirmation so far. Because it is the art that reaches the soul in the fastest way possible through the meanings of rhythm, dynamics, melody, harmony, color, texture, and not in the least, form. In the history of art […]

17 Jun 19
Hannah Sanguinetti

Hooray, hooray, the trail starts today! The first ever Oor Wullie Big Bucket Sculpture Trail has begun. All over Scotland sculptures of Oor Wullie, made by Wild in Art and fantastically decorated in more ways than you can imagine, are being revealed to the expectantly waiting public. These wonderful pieces of art are not only […]

17 Jun 19
Market Research Future(MRFR)

New Intelligence Report on “Acrylic Surface Coatings to 2023” is recently published by The Market Research Future. The report aims to provide leading industry players with information such as company profiles, products and services offered, financial information of last 3 years, key development in past five years. Market Overview The acrylic coating in commonly applied on […]

17 Jun 19
The Powertex UK Mixed Media Magazine

A fantasy planet Designer – Jill Cullum For my planet in the night sky, inspiration came from warm summer nights, sat in the garden, looking out for shooting stars. I decided to try and replicate one of the planets. Hmmm, once started though, my imagination overtook and the finished article became much more magical. Easy […]

17 Jun 19
htxt.africa

Forget the Doom Collector’s Edition and go back to an older Star Wars title.

17 Jun 19
Market Research Reports

June 17, 2019: Oil and gas are extracted by the process of well drilling and transported through ships and pipelines to refineries. In the context of China-US trade war and global economic volatility and uncertainty, it will have a big influence on this market. Offshore Oil & Gas Paints Report by Material, and Geography – […]

17 Jun 19
House of Labhran

Title: Allt Glas-choille Red Grouse

Cock Red Grouse taking flight over the Allt Glas-choille  ( High grey burn ) off the old military Glaschoille road from Strathdon to Gairnshiel Lodge.

Medium: Oil on stretched canvas – Unframed

Artist: Tim Niall-Harris

Size: Approx. 30cm x 25cm

For more details and art shipping costs please email us.

All paintings supplied unframed to allow clients to choose the framing style that suits.

Tim Niall-Harris and his creative journey began painting in the remote corners of the world. Painting in Australia, Africa and the Highlands of Scotland.

As his practice developed, Tim’s exotic bird species, game bird paintings have found their way into the galleries and homes of collectors in the UK and the world. Working with a mixture of mediums. Take classic oil paint and mix that with acrylic spray paints, ink, Scottish peat and entombed Highland Midges. Giving a voice to the exotic bird species and game birds of the world.. Tim’s art gives voices to the rare and exotic bird species of the world, grouse and partridge.

Deeply connected to the wild places where his studio can be found in the Highlands of Scotland, but firmly connected to the contemporary. Based on North East Scotland and venturing out of the hills for art projects and in all corners of the world. Currently working on art projects featuring a wide range of bird species. Painting parrots of South America – Australia, Hornbills of Africa – Asia, British game bird art.

If you would like to discuss a commission idea please email us with your ideas. We will then be able to arrange this with the artist

Tim’s paintings can be found on walls and in Scottish Highland estates and private client collections around the world. 

17 Jun 19
Acrylic Painting Lessons for Beginners to Advanced Artists
17 Jun 19
Ian & Leila's Aussie Adventure

Dear MacBloggs. Since our last verbal intercourse😊 we have moved down the road towards Broome, with a 320 Km camp for a few days at a very relaxing and scenic – free camp at Mary Pool, located 118 Kms WSW of Halls Creek. The waterhole/river here is drying up in the dry heat and bad […]

17 Jun 19
Robb Report UK
Ponder, for a while, the role of colour in our lives – as a cultural signifier, as a determinant of our behaviour, as an expression of personality – and it quickly becomes clear why it can bolster the emotional connection between a car and its owner. So it’s no surprise that the process of applying pigmented liquid to the shells of motorised vehicles has improved, since four-wheeled automobiles first started trundling along the world’s thoroughfares, as dramatically as the internal combustion engine itself. In those early years, it was a case of owners applying ordinary paint from the local store with brushes on an annual basis. In the 20s, nitrocellulose lacquers, chrome plating and spray guns raised the game a little; stoving enamels, then acrylics, then urethane and polyurethane paints followed in the subsequent decades. Today, primer baths, electric-current binding, e-coat dryers, dip-coating conveyors and sophisticated robotics are all involved, making a wealth of effects – varying levels of reflectiveness, interesting textures, subtle contrasts, metallic gleams – all achievable. Which is why people such as Roland Laurer – paintshop manager at BMW’s Dingolfing plant in Bavaria – play a key role when it comes to the emotional bond owners forge with their vehicles. Laurer’s remit is to ensure that his department’s work does justice to the elegant curves and contours of a modern luxury car. “Our job is to enable the design of each unique BMW body style to be coated in a perfect way,” he explains. “There are many challenges to guarantee that every single part of the car – doors, bumpers and bonnets – will look perfect from each and every perspective from which a customer will look upon their car.” One of the challenges he faces is the sheer number of different vehicle shapes that pass through his department. “Our process is specially set up to allow us to overcome the challenge of having a variety of different models – the 3 Series Gran Turismo, 4 Series Gran Coupé, 5 Series Saloon and Touring, 6 Series Gran Turismo, The 7, The 8 – being produced in our plant,” says Laurer, who is responsible for ensuring that more than 1500 cars are coated with the correct colour with vividly perfect results, from around 48 standard and around 300 custom options, each day. As with the production hubs of the world’s finest shoemakers and watchmakers, here, the human touch and cutting-edge technology work in synergy with the same ruthless precision as the two blades of a pair of scissors. “We work with 136 robots to apply the paint, without any manual intervention – other than to quality check the work before the car leaves the line,” says Laurer, adding that highly ingenious systems are in place to ensure the plant runs “as efficiently and in as environmentally friendly way as possible”. The quest for perfection can be a gruelling one, and the eagle-eyed checks go on right up until the finished shells leave for the next stage of production: even the tiniest of dust particles must be removed with hand-held smoothing planes. The logistics, meanwhile, are mind-blowing, and change constantly – especially of late, says Laurer: “It just so happened that, at the same time as the ramp-up of the new 8 Series began, we also launched a new paint process on all lines, which was pretty intense. And, of course, the technical design of the 8 Series makes the process even more complicated: the mix of materials – steel, aluminium, plastic – with the boot lid alone all added up to an enormous challenge for us.” With cars increasingly put together from intelligent formulas that mix steel, aluminium, carbon-fibre and plastics, it’s unlikely the logistical jungle Laurer traverses on a daily basis will get any less dense soon. Making Laurer and his colleagues’ challenge even trickier as consumer tastes change and the demand for more and more choice grows. “Compared to 15 years ago, when we always had a lot of cars being painted silver, we see a lot of variation – both new shades of colours and variations on traditional ones. We have a large variety of different greys now, and six different versions of white available for our customers to choose between.” Technological strides are constantly being made, and a big leap forward is about to be made in an area that traditionally required flesh and blood, rather than silicone and circuitry, to be done correctly. Mechanical vision systems are already working wonders in fields as diverse as medicine and farming, and it’s unsurprising that BMW is leading the way when it comes to their application in the automotive arena. “We’re working on highly intelligent camera-based systems which can quality check all surfaces of a car as well as, if not better than, any person. This can only help our goal to deliver the absolute highest-quality finish for our customers,” says Laurer. It’s only the latest chapter, of course, in an epic narrative – The Quest for Perfection.
17 Jun 19
Final Major Project: "Existence"

    During the entire process of creating and developing my Final major project’s, Stop-motion Animation named “Existence”, I had created a schedule or you could say timetable (i.e. a time planner). I designed this schedule to best fit my preference and to the completion of my Stop-motion, with guidance, detail and ease. Simultaneously helping […]

17 Jun 19
Brisbaneskylights.com.au

Official Dealer, Best Skylights and Ventilation systems. we offer the lowest price of high quality skylights, Solatube Products and Ventilation – Australia Indeed there are various sorts. How about we talk about them. The term sky facing window or rooftop window is frequently used to depict a few styles. Sky facing windows are one of […]