Christmas Tree PNG Sublimation Design Clipart Graphic

Christmas Tree PNG Sublimation Design Clipart Graphic

Here’s what you get in this Christmas Tree PNG Sublimation Design Clipart Graphic:

[1] Christmas tree set graphic with 4 Christmas trees and the quote “Merry Christmas” underneath the image…

… the first Christmas tree is a black and red buffalo plaid design…

… the second Christmas tree is a yellow and black leopard spots design…

… the third Christmas tree is a grey, black and white plaid design…

… the fourth Christmas tree is a black tree with gold dust at the top design.

Start using it instantly after download for your t-shirt design, mug design, product graphics, stickers, scrapbooking, heat transfer projects, wall art, crafts, blog posts, store banners, website design, apps, baby shower invitations, greeting cards, stationery design, collage, junk journals…

… and more!

Click the image or link to navigate and see more…

[URL] : www.etsy.com/listing/726758810/christmas-tree-png-sublima…
[NAME] : Christmas Tree PNG Sublimation Design Clipart Graphic
[SIZE] : About 12 x 12 inches
[TYPE] : Transparent PNG
[ITEMS] : 1
[RESOL] : 300 dpi
[STYLES] : Cute, seasonal, plaid, merry, jolly, fun.
[USAGES] : Journaling, business cards, clothing design, store design, digital design, etc.
[TAGGINGS] : Christmas Tree PNG Sublimation Design Clipart Graphic, Wild X-Mas Leopard Marquee Buffalo Plaid, Instant Digital Download, Commercial Use
[OCCASIONS] : Christmas, Thanksgiving, Holiday Seasons, Birthday, and more…

[USE] : Unlimited Quantity Commercial License Included. You may use this for anything you want, except…
[TERMS] : You are not allowed to resell or giveaway this clipart as is. You may not sell or give it away as part of a clipart or graphics package. You cannot resell or re-license the rights to these graphics or use them in a trademark without permission.
[CREDITS] : No credit or attribution required, but is appreciated and welcome.
[SHARING] : You cannot sell, lend or give any of these cliparts to anyone. If you have any friend who likes our work please refer them to our store.
[ADDITIONAL] : Colors may vary upon printing due to computer color calibration.

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Posted by turnipco on 2019-09-30 16:14:24

Tagged: , art , turnip , clipart , aurelia , watercolor , painting , digital , graphics , commercial , use , cute , beautiful , png , baby , shower

21 Simple (But Important) Things To Remember About Techniques Of Painting | techniques of painting

21 Simple (But Important) Things To Remember About Techniques Of Painting | techniques of painting

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Top 17 Fantastic Experience Of This Year’s Painting A Landscape | painting a landscape

Top 17 Fantastic Experience Of This Year’s Painting A Landscape | painting a landscape

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Walk through “While the Dew Is Still on the Roses,” Ebony G. Patterson’s new abandoned appearance at the Pérez Art Museum in Miami, and it’s accessible to be lulled into a apocryphal faculty of security. At aboriginal glance, the arena appears like a serene ablaze garden. A magical, pearl-encrusted carpeting lies at your anxiety sprigged with adornment flowers, like blush peonies in abounding bloom; appliqué assistant leaves dusted with beam are bashed on the walls; bunches of red, orange, and white carnations anatomy the bright topiary-style sculptures dotted about the space.

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But don’t be fooled: This is no alluvial paradise. Article apocalyptic lurks in the bushes. Entangled in the abundant flora and fauna of her work, alone pieces of accouterment advance a missing person’s report. A ghostly, arctic bottle sneaker is nestled in a bed of flowers. And wait—is that a headless anatomy lying in the grass? Dismembered atramentous and amber calmly and feet? Again it dawns on you: A aphotic spirit blights this bugged place. Dangling from the beam like a arduous army of vultures ambit an accessible grave are hundreds of women’s shoes, biconcave in sparkling atramentous paint.

Though Patterson’s assignment seems to be abundant with activity on the surface, her art confronts afterlife head-on, accurately the abortive deaths of atramentous and amber people. Her alluring multimedia pieces are advised to pry accessible the thorniest conversations about chase and amusing abuse that abide to affliction our society. And in this awful abounding tableau, appearance and appearance comedy an important role.

LANDSCAPE | Melissa McKinnon: Artist – painting a landscape | painting a landscape

To accumulate the 756 pairs it took to anatomy her shoe cloud—one of several site-specific new works in the show—Patterson put the alarm out on amusing media, allurement accompany to accord their old shoes. The Jamaican artist, who splits her time amid the Caribbean and the States, additionally trawled the austerity food of Lexington, Kentucky, area she teaches. “I bethink authoritative one cruise to Goodwill, and acrimonious up so abounding shoes that the accountant angry to me and said, ‘Nobody’s anytime activity to accept that I rung up $300 on one bill,’ ” she says. Like sneakers strung up on buzz lines, the consistent allotment is a accessible canonizing of sorts, address attestant to a host of souls alien and unseen.

“Her assignment manages to amalgamate two actual disparate things—beauty and violence—to bear a able message,” says Christian Louboutin, who absitively to accede the exhibition afterwards advertent Patterson via his friend, rapper and ambassador Swizz Beatz. A mural artisan in a above life, Louboutin was initially fatigued to the evocative agronomical aspects of Patterson’s art. (Ironically, a brace of Louboutin heels had already fabricated it into the above shoe cloud, unbeknownst to him.) The carpeting he commissioned her to actualize for the window of his abundance in Miami Beach is awash with alien flowers and anchored with the words “See Me.”

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This acicular alarm to activity has been alloyed into the seams of Patterson’s artistic action aback the beginning. Growing up in Kingston, Jamaica’s active basic city, the 37-year-old artisan aboriginal came to accept the self-actualizing ability of dress acknowledgment to her mother. “My mother consistently enjoyed bathrobe herself. She’s the blazon of being that if you were to acclaim her, acquaint her ‘You attending beautiful,’ she’d say, ‘Tell me article I don’t know,’ ” she says. “And aback you anticipate about area atramentous and amber bodies accept concluded up historically, again appearance becomes an important way for us to affirmation our identities. Consider that civilian rights leaders would alarm the apparel they wore armor.”

Photo: Ebony G. Patterson / Courtesy of Monique Meloche Gallery, Chicago

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The way in which Patterson dresses herself speaks to that faculty of self-assuredness and pride. In her brand billowing eyeglasses and a disco-inspired jumpsuit from ASOS, she was calmly one of the best dressed at the affair Beatz and Louboutin cohosted for her aftermost anniversary during Art Basel. So I’m not afraid to apprehend that she designs all the accouterment that appears in her work. “I consistently say, ‘It all starts with the clothing.’ I absorb a lot of time in bolt food attractive for the appropriate textiles. Anniversary allotment is custom-built for the archetypal aural the tapestry. At that point, the compositions are not absolutely ample out—that happens over the advance of several photo shoots,” says Patterson, who works with Jamaican artist Chris Pablo to accompany her account to life. “These things are not apparel to me; I adopt to use the chat outfits. It’s actual important that they bell in a absolute way. It’s added about embellishing—essentially gardening—their bodies with the fabric.”

Photo: Ebony G. Patterson / Courtesy of Monique Meloche Gallery, Chicago

portlandII – painting a landscape | painting a landscape

Perhaps the best emotionally answerable archetype of this comes in Three Kings Weep, the video accession that closes the show. Projected assimilate a leash of floor-to-ceiling screens, the allotment opens with three adolescent atramentous men who are bare to the waist and stood adjoin a accomplishments of floral wallpaper and aerial cardboard butterflies. With tears alive bottomward their faces, anniversary man boring and anxiously dresses himself in blithely atramentous rose prints and clear patterns. As this sartorial ritual unfolds, the articulation of a adolescent boy can be heard account We Must Die, a composition accounting by Jamaican-born Harlem Renaissance artist Claude McKay aback in 1913.

“McKay was referencing the advance in ancestral abandon that had happened in Chicago. Aback you anticipate about the resonance it has with the accepted moment, it’s like things absolutely haven’t changed,” she says. “It’s strategically placed as the aftermost assignment in the exhibit. You’re larboard thinking, What does it beggarly for the atramentous macho anatomy to be seen, for its altruism to be seen?” In the final abnormal of the video, a moment that’s brave with affront and dignity, anniversary man raises his “crown” (a bandana, a brazier hat, and a brace of sunglasses, respectively), a baron in his own right.

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The post Top 17 Fantastic Experience Of This Year’s Painting A Landscape | painting a landscape appeared first on Painter Legend.

Posted by painterlegend on 2018-12-11 18:14:09

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Making Snow in Oxford

Making Snow in Oxford

Daily Practice
Journal

No — no snow — yet. But falling temperatures, rain, and winter settling in. In fact, we may get a dusting this weekend.

This scene is from a photo I took last summer of out buildings on a farm near my home. The photo shows goldenrod along the fence posts, bright green grass and tawny fields. I used my imagination to change the ‘season’ of this photo and tried to imagine what it would look like in the coldest part of winter covered in snow.

It amazes me how powerful colors are — looking at this in the glow of bright office light (versus more subdued lighting at my friend’s), the greens and purply blues really make this feel COLD! I painted another snow scene this weekend using different colors – and mercy, it was so much warmer.

I suppose I’ve known this aspect of color and have used it in my paintings before. But it seems snow scenes especially, perhaps with their white starkness, really brought that home to me.

Thank you for your kind comments about both my recent paintings and my computer. You have no idea how much they’ve cheered me during a most frustrating time! More bad news, however on the IT front. The computer keeps crashing – despite all attempts at resuscitation. One more attempt at salvation tonight .. and if that fails .. it’s computer shopping and draining my bank account. SIGH. As Sue has so expertly said earlier, the computer is definitely my workhorse and my ‘connecton’ to family and friends I love and admire, inspiration and learning, and yes, work. So at least I have a day or so to ‘bite the bullet’ and wrap my mind around the possibility.

It’s a busy week here at the office — meetings and classes and planting seeds in a wonderfully warm greenhouse. Some of the plants from last semester’s propagation class are really taking hold, and I saw a beautiful purple iris in bloom …. what a cheer!

Take care today!

Posted by linfrye . on 2010-01-26 11:22:16

Tagged: , watercolor , winter , snow , imagination , oxford , nc , granville county , rural buildings , sketchbook , journal

3. C. & N.W. R.R., Mrs. Irene Bracker, mother of two children, employed at the roundhouse as a wiper, Clinton, Iowa (LOC) 1943

3. C. & N.W. R.R., Mrs. Irene Bracker, mother of two children, employed at the roundhouse as a wiper, Clinton, Iowa (LOC) 1943

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I have to admire Frank Delano, the man who took the photos I used for these first three paintings (and more). This photo would stand out if the others weren’t also so fine; the details he’s able to capture and the expressions on these women’s faces—it’s all gold. Frank’s photographs became quite famous over the years, iconic even. My painting of Irene is his composition with no real changes except I cut off the bottom few inches. Again, I wanted more emphasis on the face.

Irene has an open and earnest face. I can’t tell if that’s sunlight shining down on her or a photographer’s lighting. Irene is sweating and flushed, stray wisps of hair plaster to her forehead, which seems to bulge a bit while she tucks her chin in, doubling it and giving her the impression of a straight-backed, sober and serious young woman. She also despises her situation, but prefers not to dwell on it. Her situation is the same as the rest: children at home (probably with mother or neighbors or friends or at school?), man at war. 1943 was a tough year.

Why did I paint Irene? When I searched for things to paint, I’d sift through thousands of old photos for something to catch my eye. Often when I’d find a photographer I admired, I would paint many of his or her photos, as you’ll see. This is the beginning of my artistic process: searching for what I want to paint. Learning to “see” as an artist is something I’ve had to develop. Often, I will paint something or someone because I already painted it in my head—or in other words, I already solved all the painting’s problems. Putting the paint down after that is just sort of the cake. Other times, I’ll begin with a color or an emotion I want to portray…. and other things.

I think I ended up painting strong women because they were what I wanted to look at. They were what I wanted to see and to be.

Part of my process for painting ladies was to project the photo wall sized so I could see all the details. When I’m able to see a photo as large as that, I see things a small photo on a computer screen doesn’t reveal. My discoveries are usually delightful, sometimes disturbing, and once made me quit painting it altogether…. but I’ll get to those ladies….

What did I discover gazing into the face of Irene Bracker? Her false eyelashes. In this world where she is literally surrounded with soot and filth and black coal dust everywhere, there are few opportunities for self-expression. I measured her eyelashes, and there was no way they were natural. I mean, what a place to wear false eyelashes. They must have brushed her goggles, they were that long.

This is why in my painting I emphasized the false eyelashes—so you could see what’s actually there but couldn’t see in the photo. And actually, it’s difficult to paint make-up on a painting of a face. Make-up is meant to augment certain features and seeks to trick the eye in various ways. Painting works in much the same way, so painting make-up is a bit like painting someone else’s painting—or like applying make up to any face.

Back to Irene. In my painting, I made the eyelashes and lipsticks more visible. Her rigid demeanor comes off as a slightly more Frankensteinish. Also, I did not do a very good job of blending the lines around her nostrils. But if you can ignore all that, I suppose I get my point across…. This may be another case where I think the photo displays more interesting complexity than I was able to capture in my version, but my painting also emphasizes certain features to make my own point—the way a director can interpret a script. Her make-up makes her look more feminine, that’s for sure. Though everything else about her is manly—including her frank stare.

One big change between photo and painting is that I did not use black in this one—though black dominates the photo. I wonder how my photo would change if I inked out the trains and gray mist to her side—made it all black coal and iron? If I did that, Irene would glow in her shaft of noonday sun, like a goddess on fire. Might be interesting to try….

I like Irene’s yellow scarf wrapped around her head. The goggles never get old. And then those false eyelashes and ubiquitous lipstick. In my painting, I wanted to emphasize the disparity of the details—to show the woman’s social norms of beauty observed amidst this degree of filth and manual labor. Her make up contrasts the simple lines of her sweater and rough denim work shirt. I like how the shadow of her goggles falls across her chest and forehead and her grip on that wooden handle—like it’s holding her up—her hand revealing the wedding ring and her commitment to America’s institutions.

I’m aware that the photo Frank Delano took of Irene is already art. I don’t seek to replace his photo, but to use it as a vehicle by which I can express her emotion and my own emotion and agendas. I use the details of Irene that Frank recorded with his camera. I am literally seeing Irene through his eyes. And when I paint her, we are all seeing his Irene through my eyes and down my arm and onto my paint brush. In this way, I am her—I suppose in the same way a novelist is each of his characters but not really.

When I paint a lady, I translate her. I think that’s why I always felt that these ladies are mine.

Source: Flickr / library_of_congress

Posted by xinem on 2010-08-26 20:17:23

Tagged: , artprize , 2010 , haiku , original , art , ladies , mixed , media , watercolor , gouache , ink , acrylic , oil , downtown

I meant to write

I meant to write

The typewriter was gathering dust as the computer whirled away. I brushed it off and decided to write you a quick hello.

Watercolor on cold press paper, 5" x 7"

Blogged about here:
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Posted by ColeAndJosephine on 2010-03-15 03:03:54

Tagged: , art , painting , illustration , original painting , watercolor , still life , original illustration , typewriter , hello , vintage , retro , home , letter , ooak