How to Choose Feng Shui Paintings For Living Room

There are some things you should keep in mind before purchasing feng shui paintings. While there are many types of feng shui wall art available, you should avoid buying ones with a negative connotation. Choosing paintings that clearly represent feng shui symbols will help you find the perfect match for your living room. If you are not sure what to choose, read some Feng Shui tips first.

Avoiding feng shui paintings that come with a negative perception

In feng shui, an empty wall is not good for Qi flow. Artwork on the walls may restrict the flow of energy, making people feel tired more quickly. Feng shui often associates cardinal directions with different energies. These energies can be harnessed through the introduction of corresponding natural elements. For example, the north wall of a room represents career and is associated with water energy.

When choosing paintings for the living room, try to avoid those that have negative associations with the four elements. Avoid using artwork that was created by people you no longer know. Choose feng shui paintings that have positive symbolism, such as those that show a landscape. Be careful not to hang paintings that have negative associations with the four elements, such as animals or flowers.

Choosing wall art with clear feng shui symbolism

If you’re considering incorporating feng shui into your home decor, you’ve probably heard of the Bagua map. This ancient art form describes the five elements and how they affect various parts of your life. For example, the living room’s wealth area is in the far left corner. By placing wall art there, you’ll enhance the energy flow in this area.

Choose wall art that has a calming effect. Artwork that depicts water or sailing vessels should have a movement that is in the direction of the room. Artwork depicting people or animals, however, should have a different energy meaning. Avoid images of single or lonely people or anything with violent imagery. Mirrors are another thing to avoid because they can reflect negative energy.

When choosing wall colors for your living room, consider the five elements of feng shui. If you’re decorating a space for a partner, go for a color that reflects this energy. Earth tones, like brown or green, will bring harmony and prosperity to your home. Choose colors that work well together rather than clashing with each other.
Choosing paintings with colors of fire and flowers

Choosing paintings with the colors of fire and flowers for the living room is a great idea for anyone who wants to attract positive energy. Red is the color of fire and it represents passion, courage, fighting for one’s dreams and health. In addition, it represents creativity and life. Since fire cannot be still, it is always in motion. Adding a painting with the color of fire to the living room will remind the viewers to stay active.

What Art Business Can I Start?

If you’re looking for a creative outlet, an art business may be for you. If you’ve always loved to create, but never knew how to put your talents to good use, there are several ways to make your passion a profitable business. You can either use your existing skills or acquire new ones. The first step in establishing a profitable business is to develop a business plan. In your business plan, you’ll outline the type of art you’ll focus on, as well as the potential for profit. You’ll also need to discuss the types of customers you’ll be targeting and how you’ll take advantage of industry trends. You may want to consider crowdfunding or joining an artist collaborative group in your area.

One of the biggest trends today is wearable art. This is a popular choice for millennials, who have a fascination with plants. You can provide resources that explain how to maximize land space or how to grow plants indoors. Wearable art is becoming increasingly popular, and it’s easier than ever to start a business in this niche. Just remember to stay true to your passion and enjoy your work! Whether it’s creating a beautiful tattoo or a stunning piece of wearable art, there’s a business opportunity waiting for you!

If you’re a talented writer or creative writer, you can turn your passion into a successful business. You can run a blog, manage social media accounts, or even write lyrics for other artists. Another great way to use your creative skills is to run a store selling oil painting. It can be as simple as selling the tools needed for creating art or as complicated as organizing a local art fair.

Another quick way to start an online art business is dropship art from art wholesalers. One of the best service is Art in Bulk’s dropship program. It is free to join.

David Merritt’s installation

David Merritt’s installation was accessible via either of two routes through the gallery and each yielded a significantly different introduction to the work. The first path required that a viewer zigzag up a wide flight of stairs and through a gallery of recent acquisitions, and then pass by a guard seated a few feet from the entrance to the exhibition. A sign displaying the artist’s name and didactic material was a punctuation to the ambulatory cacaphony that preceded the work.

The other means to the installation began in the gallery located at the opposite end of the museum; following this route a viewer was compelled to pass the AGO’s chronological staging of nationally and internationally renowned contemporary works: Judd, Andre, Baselitz, Beuys, Spero. . . . Gazing at first through a formidable string of galleries, a viewer had to squint to see Merritt’s work — and then received but a faint reward. Almost nothing was visible at a distance. Drawing closer, a bottle-shaped figure spraying from the mouth began to materialize on the wall ahead. At a middle distance, it seemed to be rendered with a multitude of nervously fragmented lines, and showed a string of unidentified red points at its neck. A few more paces clarified that the lines were in fact objects — twigs — fixed to the wall with dressmaker’s pins. Fixed, but not adhered, for each twig was clipped between several pins that mitigated against the fine branches having to be pierced in order to be held in place. The red “dots,” it turned out, were delicate petal shapes cut from plastic flowers, stuck-through to form a floating ovoid that cast a faint shadow amidst the dispersed spray of twig-lines that made up this work entitled glot’l (1996).

Once inside the gallery room a viewer was motivated — some might say “quite naturally” — to turn to survey the rest of the space. In doing so, one met with the shock of the other wall. This expanse appeared as if it were almost completely overgrown with twigs and pins. At first glance order and chaos seemed to be caught in a delicate balance (as they sometimes deceptively appear in nature). The piece, entitled Moritat (1995-6), fanned out according to an authoritative but not immediately recognizable system. Thus it initially appeared as a whimsical counterpoint to what one had likely seen as they approached the entrance to the museum: leafless vines clung to the outside face of the building, delicately juxtaposed with the bold graphic flags that advertised exhibitions by Patterson Ewen and Ozias Leduc. Only after one confronted Merritt’s subtle installation could they have wondered whether “nature” itself had taken care to signal the exhibition, to ensure that the quietly arcane works would not go unnnoticed.

An act of deciphering followed from the initial experience of being overwhelmed by the audacious product of Merritt’s labour with twigs and pins. The hundreds of branches slowly manifested that they had been arranged to form calligraphic traces; a patient viewer could gradually assemble a version of the libretto of Mack the Knife. That famous cold-war era pop ballad — originally written for Brecht’s Three-Penny Opera in 1928 — wove itself over the expanse of the gallery wall, beginning at the left with a semblance of rigidity that gave way to the impression on the right side that the text had been scattered by wind. Irony attended the fact that the “natural” lines of the piece — twigs — which hesitantly accomodated themselves to speaking the text of a song, eventually gave themselves over to the more suitable task of appearing disrupted by natural forces.

The curator supplied a text that informed viewers as to the reasoning and history behind the choice of the particular libretto drawn in Moritat: apparently a junk-shop had provided Merritt with a gold-framed typewritten memorial that attributed the singing of the piece to “the Late Bobby Darrin” (sic). That perverse historical artifact became the source for Merritt’s own historical and material disruptions. But internal knowledge about the construction of an artwork may only partly direct a viewer toward a deepened encounter with a work. To further an analysis of Merritt’s exhibition it is useful here to quote from a recent essay by cultural theorist C. Nadia Seremetakis, entitled “Memory of the Senses Part II,” in which the writer engages the notion of cultural “dust”:

Dust is the historical waste material formed by the historical-cultural repression of sensory experience and memory. It is also the form that residual culture takes once it is compartmentalized as the archaic and sundered from any contemporary pertinence and presence. (The Senses Still, 1994).

With glot’l and Moritat Merritt proposes that spoken language is a producer of histories that are ephemeral and fleeting. Instead of producing something contained and concrete, speech makes dust that fans out over everything. In glot’l, it sprays visibly from an inflamed neck, directed everywhere and nowhere. Significant in this piece is the fact that spoken language appears as a scratchy, dry and fragmented material that invariably catches in the throat as it is formed.

The words of a song whose history is composed of layers of intellectualized and popularized mythology are displayed in Moritat to emphasize the voice as a producer of transitory cultural artifacts. Reading the work from left to right makes this plainly obvious. But if the work is taken as an “inversion” (where it manifests that speech is an act of fumbling toward certitude), a viewer may see the piece as mimicking an animated sequence shown in reverse. Branches — “speech-dust” — flutter in the upper-right of the frame, gradually tumbling into letter forms toward the centre of the space. The eye then travels toward the lower reaches of the field and sentences materialize. The “vocal stylings” of Bobby Darin ultimately become visualized in the baroque lines made by curving branches.

Merritt’s works were both insistent and potentially short-lived — like the ubiquitous order to “Wash Me,” that one may find written in the dirt of a car windshield. They effectively remind us of how commanding and physically present, yet always in danger of obliteration, are the words that pass from the mouth.

How to Photograph an Oil Painting

Want to learn how to photograph an oil painting? Well, it’s not as hard as you think. Learn how to photograph artwork in this tutorial.

Photographing an oil painting isn’t easy. If you use your flash, it reflects off of the oil or the glass, over-exposing your image. But, if you are a painter, or just like artwork, then you may have to take photographs of paintings. So, you are faced with a question: how to photograph an oil painting when you need to?

If your painting is not hanging on a wall, you need to make the painting as completely straight as possible. If not, then your painting will look crooked in the photograph. But, if you can’t take the picture completely straight, then you will have to crop it a little bit using photo editing software.

Use a tripod. If you are propping up a photograph on the floor, then you need to point your camera at a slightly downward angle. This is hard to do with just your hands, especially when you need to keep your camera steady.

Turn off your flash. No matter if the image is behind glass or not, you are dealing with a reflective surface. Natural lighting works very better than your flash. Take your painting outside, and put it in direct sunlight. Use a polarizing filter if it’s really bright outside, or try putting the painting a little bit in the shade.

Always have a solid background for your image. You want to eliminate as much of the background as possible, but you may still have a little bit of it in the shot.

If you are taking a picture in a museum, then you are going to have to use the lighting in the museum. Usually the paintings are lit by both front and back lighting. But, you are going to need a little extra lighting. So, bring some photography lighting, and ask museum staff if you can set it up to take some pictures. Always get permission beforehand. Certain paintings are off-limits to begin with, and certain museums do not like you using any type of flash or lighting on the paintings.

If you have to use your flash, turn it down to half power. This will decrease the overall brightness of the flash, but still provide you with enough power to illuminate the painting. Always take a few shots with the flash to see how they look. If it’s not helping, then just turn it off.

Change your aperture to between f/5.6 and f/11. This will sharpen the image and help bring out the details. Also change the white balance to manual, and experiment with it until you find the right setting.

Composition is also important when taking photographs of paintings. Try to fill the entire frame with the oil painting. Try not to use the LCD screen for this. Instead, use the viewfinder because it will give a better perspective than the LCD screen.

Make sure that the camera is completely focused on the center of the artwork. If not, then you’ll get really distorted pictures. The most common is that the bottom of the painting seems closer to the screen than the top.

Finally, clean up the image a bit in a photo editing program, especially if the painting looks crooked in the photograph.