Paintings @ AmritaParyani.ART

The Mool Mantar is the Sikh statement of belief. It is the basis of the whole of Sikhism and contains the key beliefs about Waheguru. It is taught to all young Sikh children. The Mool Mantar is the most important composition in Sikhism, which is reflected in the fact that it is the opening text of the Guru Granth Sahib. Sikhs believe that the Guru Granth Sahib is the word of Waheguru so it is infallible. The first line of the Mool Mantar is “Ik Onkar”, which means “There is only one God”. This symbolises the importance of the belief in the oneness of God and the oneness of humanity (the belief that everyone is equal). The symbol meaning “Ik Onkar” is seen in gurdwara and Sikh homes. Its widespread use highlights the fact that this is the most important belief in Sikhism and that it should always be in the mind of Sikhs. The symbol helps Sikhs to focus on Waheguru when praying and meditating.

The Mool Mantar is:
There is only one God - Ik onkar
Eternal truth is his name - Sat Nam
He is the creator - Kurtah Purakh
Without fear - Nir Bhau
Without hate - Nir Vair
Immortal without form - Akaal Moorat
Beyond birth and death - Ajooni
Self-existent - Saibhang
By the Guru’s grace - Gurprasaad

Yunay

Y Yearn, your innermost desires.
U Uncanny, the way you know what to do.
N Narrator, tell many stories
A Athleticism, embrace the competitor within
Y Young, the years never show!

This elephant-headed god is also known as the god of beginnings. Also known as Vighneshvara. Intricate and soothing paintings aim to foster love, strength, hope, peace and happiness. Ganesha, also known as Ganapati, is one of the most worshiped deities in India. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the god of intellect and wisdom. This elephant-headed god is also known as the god of beginnings.

Photorealism Art
Photorealism is an art that derives from a photograph. The Art imitates and tries to create the painting or any other form of art, as real to the photograph or the scene in it as possible. It came into being around the later era of development in art. A very new genre in art, it was one of the first style of painting that encompassed digital ways of creating art, such as through graphic media.

Color
Paint is a subtractive color system, and therefore the most effective primary colors for painting are Red, Blue, and Yellow. Note that high-quality paintings typically do not use just three primary colors since more vivid scenes can be achieved using dozens of primary colors.

Getting inspired by colors of Air; the background is created using hues of Orange, Ochre, Rust, Sepia, Tussock, Saddle, Cobalt Blue, Cadmium Yellow, Red and Gold.
Ganesha's picture were coloriated with Cobalt Blue, Rust, Tangerine, Red, Cadmium Yellow.

Brushstroke
Double Loading - Dip brush into one color of paint, then dip again into another color. Move the brush, causing a dual or two color effect. This technique adds richness and dimension to flower petals and other foliage. Use a round brush to add depth and richness to flower petals or other objects.
This technique makes for a striking 2 or 3 color variation occurring in one stroke when creating curves. This technique eliminates blending or adding a row of color one at a time. It is impressive in creating variations of color. The brushstrokes consists of short, loose, semi-thick strokes to enhance the idea of motion running through the work.

Supplies
Thin Tip Round Brush, Fine Grain Canvas, Primer, Acrylic Paint color, Thinner, Gold Marker, Bronze pigments.

GIFTED
SIZE / L : 36 inch W : 32 inch

5 Elements of earth

The five elements theory exists in various ancient cultures such as Greek, Japanese and Babylonian philosophy, Traditional Chinese Medicine and Ayurveda. They all specified similar elements with slight linguistic differences.

Ayurveda says that every matter is composed of five basic elements — panchamahabhutas — which inhere the properties of EARTH (prithvi), WATER (jal), FIRE (tejas), WIND (vayu) and SPACE (akash).

Abstract / Nature / Gesso Art
After doing some research, I stumbled upon Gesso Art which is what some artists use to create the textured canvas look, and eventually found that using drywall mud/spackle could create a similar look.

My paintings are always built on a textured working surface. This helps to create rich and visually interesting pieces – and it is less intimidating to work from than a flat, blank canvas. I prime my board with three layers of gesso, sanded between applications. I like the contrast between the smooth surface this creates and the heavily textured areas.
If you want more of the surface to be textured you could use the heavy gesso by Liquitex which can be sculpted using a palette knife or brush. After the surface is primed I start to add texture quite liberally, mainly around and below the horizon.

Sand mixed with paint gives a grainy feel and can be great for beach scenes and middle-ground areas as it creates a fairly subtle texture. Mud is lumpier and when mixed with paint or glue, creates thick areas of texture. I like mud because it is unpredictable – you can’t be too precise with it.
Using materials you have collected from places you’ve visited gives paintings a direct connection with that place and with nature. Make sure to apply a layer or two of sealant (gesso or acrylic primer) over the sand or mud before you start your painting.
Polyfilla is cheaper than texture paste and does the same job. You could also sculpt the paste with anything from a fork to a washing up brush for a more stippled effect. You can be quite experimental with the way you apply the Polyfilla: there’s no right or wrong way.
For deeper texture, you can apply more layers. Each application will take a few hours to dry after which you should sand it down and, again, before you start painting always apply another layer of sealant. If you don’t, the paint will absorb faster over the areas of Polyfilla and look patchy.

All the techniques I’ve talked about I’ve found work for me but it’s all about experimenting until you find ones that you love. You could use plaster, expandable foam, dripped paint, collage – anything you can think of – to create interesting textures.
Right at the end, when your painting is done, you can lightly paint over areas of thick texture in one direction to create a sculptural, 3D effect. This is a really striking finishing touch and can bring the painting alive. I usually use thinned white oil paint or Renaissance Gold liquid metal for a subtle metallic hint.

Color
Earth - The primary color scheme applied for Earth was Sienna, Umber, Viridian Green, Violet and Indigo
Water - The color palette used here are Emerald Green, Violet, Indigo, Turquoise, Sap Green & Cobalt Green / Blue. With a hint of Matte Gold.
Fire - Shades of Tangerine, Amber Orange, Ochre, Rust and Gold. Shades of Scarlet Red and Tuscan Sun Canary Yellow were also added.
Air - Palette of Azure, Teal Blue, Cadmium Yellow, Brunette, Rust Orange and Crimson Red.
Space - Shades of Lavender, Mauve, Moca , Dove Grey, Ebony Black. Gesso with Fawn and Golden Haze

Brushstroke
The Impressionists main goal was to capture the moment, not to create intricately detailed or studio style works that took weeks or months to complete. They were all about being new, being modern, being in the moment. Taking an impression of something that would change with every minor shift in light. So they worked from life, in the open air, and they worked fast, putting paint down on canvas in a new way to capture their new ideas. Instead of details, and use short, “BROKEN” brush strokes of mixed and unmixed color to achieve an effect of intense color vibration.

Supplies
Wooden Panels (L: 30 inch / W: 12 inch), Drywall Mud, Polyfilla, Framed Canvas, Drywall Taping Knife to apply the mud to the canvas, Palette Knife Set for spreading the drywall around the canvas to create the texture you want. Painter’s tape to cover the edges of the frame.
Paint brush, Paint color of choice to use over the drywall texture. Because you’re using drywall mud, you can get away with chalk paint, acrylic or latex paint.

SOLD / INR 60,000
SIZE / 5 Panels of L : 30 inch W : 12 inch

Noor (Radiance)

A shy girl, she's a funny, stunning, gorgeous, beautiful girl who redefines the word love, very respectful and modest of her body, she's a sweet girl that's so rare and is just one of a kind, she's the type of girl that deserves the most perfect guy that will respect her and cherish her, she makes people smile without even saying anything even when your feeling down she's always the one to cheer you right up, there's nothing you would ever want to change about her everything about her is gorgeous, she'll make you feel like a king and will never ever let you down, she'll mean the world to you and you should never ever ever ever let her go because once she's gone you'll never find someone like her ever again.

Expressionism
The arrival of Expressionism announced new standards in the creation and judgment of art. Art was now meant to come forth from within the artist, rather than from a depiction of the external visual world, and the standard for assessing the quality of a work of art became the character of the artist's feelings rather than an analysis of the composition.

Expressionism as an art movement can be very broad and difficult to characterize. It spans across different countries, mediums, movements and periods. Expressionist art was therefore not defined by a set of aesthetic principles, but rather as a tool of expression and societal commentary.

Color
Choosing the best combination of colors for an interactive design layout is not, as it may appear, a guessing game. Knowing which ones to use will save you time (and headaches). Getting it right will also keep your users connected.
Since the early days of art and design, the use of color has followed many rules and guidelines, which are collectively known as color theory.

The Color Wheel

Recalling Color Theory Keywords a way to refresh your memories

The relationship between colors can be shown through use of the color wheel.

The color wheel shows links between different colors based on the red, yellow, and blue content of each color. It was first developed by Sir Isaac Newton in 1666. The color wheel’s most useful and most commonly used variant is shown in the image above, which includes red, red-orange, orange, orange-yellow, yellow, yellow-green, green, green-blue, blue, blue-purple, purple, and purple-red combinations. It is stated that the color wheel can be categorized into three main types of colors based on the combination of base colors used to create the final color, as follows:

Primary colors - yellow, red, and blue. These are basic colors that cannot be broken down into any simpler colors.

Secondary colors - these are created by mixing two primary colors. The secondary colors are orange, green, and purple. Mixing yellow and red creates orange; mixing blue and yellow creates green, and mixing blue and red creates purple.

Intermediate or tertiary colors are created by mixing both primary and secondary colors to form a hybrid, such as yellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green. On a larger color wheel than the one shown above, a mix between intermediate, secondary, and primary colors would create quaternary colors.

Brushstroke
SKOOR-oh, -⁠SKEWR-, Italian for 'light-dark'), in art, is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for the use of contrasts of light to achieve a sense of volume in modelling three-dimensional objects and figures.

The term “Chiaroscuro” is Italian for light and dark. In art this refers to strong contrasts between light and dark as applied to a two-dimensional surface. The effect of these strong contrasts creates shadows, but even more important is the light, which once revealed in such contrast it forces the eye to follow a particular direction, or to view a particular focal point. With lights and darks distributed in this manner, the viewer’s eye is lead through the picture plane. As the light and dark surround the subjects the illusion of depth is all the more enhanced and the resulting image is seen as three-dimensional.

Supplies
Acrylic colors (Faber Castell), Textured Effect using 3D Liners(Staedtler), Thin Tip and Thick tip Round Brush Paint Brush(Staedtler), Fine Grain Paper, Primer (Pidilite), Fixative Spray (Brustro) and Charcoal Pencil (Staedtler).

INTRODUCTION
Drawing birds is a wonderful way to make yourself look more carefully at nature. This session will help you draw birds and understand them more deeply. If you understand bird anatomy you will be better at drawing what you see. I have many blog posts giving step-by-step demonstrations and details about drawing birds and this video is crux of those.

The most important thing you can do to improve your bird drawing and sketching is to start drawing more frequently. Keep your sketching materials handy.

Once you have the basic shaped blocked in you are ready to add details on top of that framework. This is the fun part but do not skip the first steps and jump to drawing the beak and eye. Details without structure will get you nowhere. The most important part of the drawing is getting the basic shape right at the start. Instead of focusing on details at the start of a picture, make light sketch lines to capture the posture, proportions, and angles of your subject. Start your bird sketch by noting the posture of the bird or the angle of his face.
Many artists speed past these important initial steps but time spent at the start will pay off in the end. One you capture the posture, proportions and angles of the silhouette, you can add details in heavier pencil over these initial lines, finishing with color.

Studying bird anatomy will help you draw birds more accurately. Feathers grow from specific regions on the bird’s body with bare skin between them. These feather groups define the shape and contours of a bird and the patterns on the feathers relate directly to the underlying feather group.

DRAWING
A drawing does not start with the details. It begins with observing and capturing the basic shape. This initial framework is non-committal and plastic. Lines, especially ones that are bold and deliberate have a sort of gravitational pull. Once the line is on the paper, your brain tends to tell you “yes, this is right”. Changing it takes work and our brain would rather take the lazy route. For this reason you must fight locking onto your initial lines. One way to avoid line lock is to make your initial lines fast, light, loose, and sketchy. instead of drawing one line, make several. Your brain will be able to select which ones it likes the best out of those drawn on the paper, give it a little choice. Above all, wait on adding detail to your drawing. Once it is there, you are not going to want to erase anything and will contort proportions and negative spaces to fit what you already put on the paper.

To draw a hawk , I make a light framework, often using an erasable PenciI double check this frame before adding detail. While it is still in the pencil stage, it is easy to change any aspect of the shape without erasing, I just draw over the lines already there, refining the shape as I do.

In this session, we take a look at the process of sketching a hawk (mistakenly called a falcon by us “experts”) with sepia toned pastel pencils and black and white charcoal on gray drawing paper. Charcoal obviously gives us the opportunity to create a broad range of value with rich, dark blacks. White & black charcoal takes care of the highlights and lighter tones. The toned pastel pencils provide a bit of color, but harmonizes the sketch with color palette.

The first step in drawing the subject is to sketch the basic shapes and contours on the drawing surface. Charcoal is naturally a looser medium, so it makes since to keep our initial sketch rather loose. However, this would be true for any medium we choose to use. It’s usually a good idea to start with loose, sketchier marks and then refine the drawing as it develops. Charcoal makes sketching loosely a little easier since it’s easy to erase and manipulate.

COLOR

A lot of mix was created using Blue, Green, Ochre and other shades of pastels.

Beak of Hawk - Pink, Peach, Orange
Neck and body - Rainbow colors, Blue, Green, Turquoise, Brown, Purple, Black, Yellow, Orange,
Eyes - Chrome Yellow, Orange, Dark Blue, Light Blue, Dark Red, Violet, Black, White

After the lighter tones were mapped out, the addition of the sepia tones began with the pastel pencils. As you’ll notice some of the browns and reds were a little cooler, while others were warmer. This worked out great for our subject since both warm and cool varieties of the sepia tones were found on the hawk.

Much of the sepia tones were applied directly over the charcoal applications. With heavy pressure, the pastel pencils were able to mostly cover the charcoal applications. But with a slightly lighter touch, some mixing results. This allows us to create a variety of values of the sepia tones, resulting in darker browns and lighter red-oranges.

MATERIAL USED
Both charcoal and “white” charcoal were used to complete the drawing. Pastel pencils were used to apply the sepia tones. The drawing was completed on toned drawing paper. This paper is inexpensive and is a wonderful surface for sketching.

Woodless Charcoal Pencils (Black)
Chalk Pastels
Jelly Crayons
Oil Pastels
Color Pencils
Gel Pen
Marker Pen
Toned Drawing Paper Paper

Most of us have plenty of experience drawing with a pencil on white paper, but branching out and trying new mediums opens us up to new possibilities. Using different mediums may also change the way that we make marks, leading to better artworks.

While pencils are used in this drawing, the way they are applied is different from how a graphite pencil would be used on white paper. Drawing loosely and quickly without compromising too much accuracy is a skill that every artist should develop. This combination of media helps us do this, all while developing a respectable drawing with a harmonized palette

Savannah

A hot brunette who is amazing with music and style. She makes people crack up randomly.

TECHNIQUE
Gradient relief
For this example, I used three colors to create a gradient, but you can use as many colors as you like; even one color will work. I squeezed them out onto my palette, then used a flat brush (a filbert brush works well for this, too) and repeatedly applied the paint on the canvas in tiny strokes, which should be positioned close to each other. This technique requires a lot of paint to build up the texture for true relief.

Dry Brush Layering
To do this technique, I applied blue paint thickly to the canvas by scooping up a large amount and applying it so it created a raised texture. Next, I waited until it was completely dry. Then, I took a bristle brush and a little bit of white and painted on top of the blue with light touches. When the white dried, I repeated the process using gold.

METHOD
Sketch or trace the image onto your support
If you aren’t comfortable drawing your portrait free hand, don’t be afraid to trace or use a projector to get your proportions correct.

Lay out ONLY the colors you need for your palette
I have found that the following five colors are all you need for most skin tones: French ultramarine, titanium white, alizarin crimson, yellow ochre, and burnt umber. ,
I also like to use linseed oil to increase the flow of the paint. Pour a small amount into a plastic container and keep it close to your palette. I will dip a just a corner of my brush in it to help with mixing colors. Try not to use too much or your paint will get transparent.

Start by painting the EYES
I start my paintings by filling in the whites of the eyes first. It’s VERY important to realize that they are never pure white—there are always shadows and variations in the white part of the eye!
In this case, I started with white and added a little yellow ochre and umber.
Once you’re done with the whites of the eyes, fill in the pupils. I left the highlight areas open on this one, but you don’t have to do that if you don’t want to. Highlights will be added at the end, and you can always layer paint over the top of paint to create them.
Don’t get too hung up on the eyes—get the basics in and move on!

Block in your shadows and darks
I have found that blocking in the darks first helps me to get a feel for the shapes in the face. For this painting I started with crimson, yellow, umber and white.

Add mid-tone colors to the portrait
You want to generally work from dark to light, so if your darks are in place, add your midtones. As you do, keep your eyes open for subtle changes in color around the face. For cooler tones, add mix a little ultramarine into your skin color to cool it down. For warmer tones, add yellow or crimson.
As you block in the mid-tones you will see planes of the face take shape. For this painting, I added the lips during this stage as well. Remember, lips are ALSO a skin tone, they are never just red! Mix and dab to be sure of color.

Paint the lightest colors on top
Light tones should be your top layer. DON’T use plain white. The light areas of a face are always either a bit cool or a bit warm, so mix your paint accordingly. In this painting my light areas are pretty warm, so I mixed a peachy color with mostly crimson, yellow, umber and white.

Add definition and details throughout the portrait
Now that you have your basic values blocked in, start to play with the tones and make adjustments. Add darks and lights where needed, and always be thinking about ending up with a nice amount of contrast.
You can see where I added some dark mauve colors to define the eye area and deepen the creases near the mouth. I also added more color to the cheeks and lips for more definition. As you fill in various details, remember to keep painting the shapes of the face, not the lines. This is why it makes sense when we say “block in” a color, because you’re adding a shape at a time, not drawing around the shapes with paint.

Add mica powder for hair highlights
Adding mica powder will make your acrylic paint look metallic. First, put the paint onto a palette. Then, carefully add the powder to the paint and mix it very slowly. Mica powder is very fine and if you add it to quickly it will fly off the paint and create a mess.

COLORS
Yellow, Ochre, Umber, French Ultramarine, Titanium White, Alizarin Crimson.

MATERIAL USED
Wooden Panel Canvas (L: 36 inch / W: 24 inch), Primer, Sealant, Polyfilla, Paint brush, Acrylic Paint color, Oil Paint Colors, Mica Powder, Charcoal Pencils (Black), Chalk Pastels, Bristle Brush

SOLD / INR 12,000

SIZE / L : 36 inch W : 24 inch

BUDDHA 108
There are many interesting facts and hidden meaning behind Buddha statues and Buddha heads. This is because the iconography of Buddha is not typically meant for representing the Buddha in his physical form but to depict the Buddha's knowledge and awareness he acquired after attaining the enlightenment. These depictions vary from style to style and on the basis of the region of origin. One of the few characteristic that is not changed regardless of the style of the region of origin is the Buddha hair in various Buddha statues and Buddha head statues along with the ushinsha or the third eye of the Buddha.

There have been many theories and discussions about the Buddha's hair. But historically speaking, before the Shakyamuni Buddha left the riches and palace as a crown prince, he had a long, curly hair. Upon giving up the happiness of the palace, he cut his hair with knife. There are also different versions of the history on whether he actually shaved the hair completely or lost the longer portions of his hair. The statues and paintings portray the Buddha having short and tight ringlet curls. As hair is often used a metaphor for human being’s illusion or ignorance, so called the ‘weeds of ignorance’, thus, cutting the hairs implies symbolically getting rid of ignorance. The body and the mind should be kept clean in order to reach the final aim of true understanding. Thus cutting and shaving the hair represent a sort of determination to keep the body and the mind clean and then to attain enlightenment and save all beings. But there have been cases where the hair in the Buddha heads are neither shaved nor long, representing the life between the extremes of indulgence and mortification.

In one of the little historical written evidence, a brief written account of a hunter who stumbled upon the Buddha meditating in the forest, he saw the former Shakya prince sitting beneath a tree in the middle of the forest as a bald ascetic. Seeing the bald head, he took it as a bad omen and stopped hunting for that particular day. At the same time, when he saw the Buddha, in his monk's robes, he thought the ascetic was a Brahmana. Though after a close inspection, he saw this "brahmana" missing the usual tuft of hair on the back of the head, which is generally termed as Shikha in Sanskrit. Shikhas were moreover, taken as the identity of Brahmanas. This textual evidence makes it debatable whether the Buddha was bald or he had hair.

Of course, we do not really know what the historical Buddha looked like as the first Buddha statues and Buddha heads were created only roughly around 200 years after his Mahaparinirvana. As the Buddha is portrayed with ringlets of hair to illustrated his life-story, we can say that the Buddha heads and statues we see now are not the accurate.

Hair is often metaphorically regarded as human being's illusion. Therefore, it is also called "weeds of ignorance" and having a shaved head, symbolically, represents getting rid of those illusions. It is believed that to achieve the level of true understanding and enlightenment, we should keep our body and mind clean. That's why we often see Buddhist monks having a shaved head. Even history suggests that Siddhartha Gautam Buddha had cut his hair when he left his palace to achieve enlightenment.
But when we see Buddha statues and other forms of art, Buddha is portrayed with short and tight ringlet curls. There are around 108 ringlet curls on the Buddha's head. So, one might think why the artists have been portraying Buddha with short ringlets? There are numerous beliefs. One belief suggests that those ringlets are not short hair. They are actually 108 dried snails.

STORY OF 108 SNAILS ON BUDDHA's HEAD
One day, the Buddha was roaming around. He began to ponder so he sat down under the tree and start to meditate. He became so immersed in his thoughts that he didn't notice the time. As time passed by, the sun rays were directed to his bald head.

At that moment, a snail was making its way along the ground. Snail noticed that the Buddha was meditating on that hot day. Even though he sat under the tree, the sun rays were directed towards his head. Snail thought that the Buddha's head was soon going to become a distraction and it would be hard for him to concentrate. Without a second thought, Snail made its way up to the Buddha's head and sat there, with his mucous body cooling the Buddha's smooth and bare skin. Other snails also followed the first one, went up to the head and sat down there. Snails on the head looked like a neat cap of spiral shells.

Snail's cool and damp bodies helped to maintain the Buddha's meditation continue for hours. The snail became parched and dry due to the heat rays. Later in the evening when Buddha stood from the meditation, he learned that he was wearing a cap of 108 snails, all of whom had given their lives to make a distraction-free environment for Buddha's path to enlightenment.

Since snails had given their lives for the Buddha, they are now honored as martyrs. Hence they are displayed on Buddha statues to remind us of their sacrifice.

MURAL ART
Inherently mural painting is different from other forms of paintings. This art has tried to instill emotions in us by giving large impressions on walls and ceilings. Most often it is used to decorate public spaces like buildings and portrays different themes. It is used to improve and enrich the interiors.
Murals are considered as an effective tool of achieving social and political goals as they have a dramatic impact on the attitudes of the passing by passengers. Many towns have begun using this mural art to attract the tourists which boosts the economic income. It is served as a message board.
Murals have power to create a positive atmosphere and to inspire people. If you are feeling low mural art can change and refresh your mood. Mural work can be done on the walls of living rooms, dining rooms, bathrooms, bedrooms and children rooms. A child's room can be converted into a fantasy world with the help of mural art. It is best to educate playgroup children as the colors on the walls open up their mind to imagine things and build a sense of creativity.
The mural art techniques include painting, fresco, tempera, oil painting, graffiti and tiles. There are many ways of creating a mural. Different muralists prefer different mediums for making a mural or may adjust in a particular technique as required by the client. It is very easy to get the design commissioned by the muralists.
In our hectic life schedules, Mural art can act as a stress buster, refresh local commuters and charm tourists. It helps uplifting your mood adding on to the beauty of your country roadsides and infrastructure. Therefore you can always adorn your houses and office spaces with beautiful murals and convert an average day into a soothing and happy experience.

COLORS
Metallic Oil Colors: Copper, Rich Gold, Pale Gold, and Black
Incorporating gold has a rich history in painting. From illuminated manuscripts to the “Golden Phase” artists have explored the richness of gold to enhance their color palettes.
Contemporary painters continue this tradition by using tubed metallic colors for unique effects in their work.
Gamblin Copper, Rich Gold, Pale Gold, and Black are made by suspending bronze and aluminum powders in an alkyd binder. It’s the light reflecting from all those bits of metal that create the “metal finish.” The real metal flakes scatter light in many different directions giving surfaces painted with Metals a soft, lustrous appearance.
Gamblin Metals have distinctive mixing characteristics. When mixed with transparent colors, they maintain their metallic luster and give glaze layers a unique sparkling quality.

Supplies
Wooden Panels (L: 36 inch / W: 24 inch), Primer, Sealant, Polyfilla, Paint brush, Acrylic Paint color, Oil Paint Colors, Metallic Colors and Pigments with Gold Shimmer.

SOLD / INR 40,000
SIZE / L : 36 inch W : 24 inch

Inspired by a TRUE STORY, about a woman, whose both hands were amputated after a tragic incident is inspiring women by teaching students with amputated hands in Uttar Pradesh's Moradabad. Speaking to Media, Pragati said: "My both hands were amputated by doctors after I inadvertently touched a live electric wire back in 2010. Initially, I was very disturbed. I found it difficult to carry out my daily activities."

The painting and the art work is opposite but depicting a women having her "hands" but she is bounded by the limitation set by the culture, society, environment, people.........

"Never-ending, Boundless, Ceaseless, Constant, Continual, Continuous, Eternal, Everlasting, Incessant, Interminable, Nonstop, Perpetual, Persistent, Relentless, Unbroken, Unceasing, Unchanging, Uninterrupted, Unremitting"
These words of famous American novelist, Gertrude Stein echoes the thoughts of an art lover for whom a painting is a passage that transcends the world of ordinary. This passage takes an art lover to an unparalleled world of creativity and imagination. One such genre of art that is capable of transcending the world of mere appearances is figurative art.

FIGURATIVE ART
For ages, one of the goals of artists has been to realistic represent the world on canvases or through sculptures. In ancient times, the art genre that dealt with realistic representation of humans and surrounding environment was called mimesis and nowadays, it is called figurative art. Thus, figurative art is a form of art that has strong association with the real world, especially with the human figure.

Figurative Art in the Early Twentieth Century
The early twentieth century saw a decline in figurative paintings. Although, the arrival of camera and its immense popularity are held responsible for the desertion of figures in paintings, the real reason behind it had more to do with the experimental, expressive, and unconventional urges of artists. The group of painters who later came to be known as the Impressionists was the first of the lot who let the figure fade and gave importance to surface effects. It is important to note that the term ‘Impressionism’ was first used to criticize the works of these artists because their paintings only had a mere impression of the tangible things being depicted and did not depicted them precisely.

Although, human figures did not have significant presence in the twentieth century art that it had in earlier times, it has been of chief importance to two genres of styles - Social Realism and Expressionism. While social realists experimented with figures in their attempt to precisely depict contemporary communal life, expressionists deployed the human figure at the centre of a style dedicated to celebrate human longings and concerns.

OIL PAINTING
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. The choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time.

How to Paint With Oils
To start an oil painting, you need to make sure you have these two things: 8 basic painting supplies (see below), and ideas for what to paint.
Of course, there are many other aspects that come into play when creating a piece of art. We will discuss some of those further on, including:

Best brands of paint! - There are several good oil paint brands on the market. I have tubes from different brands because even if they have the same color on the label, the actual hue of the paint can be quite different. I don’t feel like recommending any brand in specific, look for artist quality and choose the pigment that you need/want from each brand.
Painting fat over lean! What Does it Mean? - In oil painting you always have to follow the “Fat over lean” rule; it’s important, otherwise, paint tends to crack when it dries. Basically what it means is that you start painting with thin paint, thinned with turpentine or odorless Turpenoid, and the following layers of paint are less and less thinned. On the last layers, you can even add fat, like linseed oil. Linseed oil is the most traditional medium for oil paint, in fact, it’s already mixed into the paint.
Cleaning your brushes! - The first thing to do to clean brushes from oil paint is wiping away all the excess paint from the bristles using a rag or paper towel. Squeeze the bristles well to get as much paint out as you can, dipping the brush lightly in the thinner to facilitate the cleaning. I heard some people clean using the thinner (I would not recommend it), others use safflower oil. I like to use a soapy detergent to get all the paint out. After you squeezed all the excess paint out using a paper towel, get your bristles soapy, make foam, rinse well, make foam, rinse well, until the water runs clear. Squeeze all the water out, reshaping the bristles, and lay the brushes flat to dry. Any kind of mild soap will do, or the more specific The Masters Brush Cleaner. I personally use a common household degreaser that comes in liquid form.
If you don't want stains. Clothing! - Oil painting does not come off easily from clothes. Always wear old clothes. If you paint outdoors, en plein air, you are even more likely to get paint on your clothes, dress accordingly. Also, most paint colors contain highly toxic minerals and chemicals. I recommend wearing rubber gloves. Gloves should be flexible and fit tightly, like exam gloves; they need to protect your skin but don’t limit your movement.

SUPPLIES
8 Supplies You'll Need for Oil Painting :
1. Oil Paint
The first thing you are going to need to start painting with oils are some tubes of oil paint.
There are different qualities of oil paints: you can find student grade or artist quality. The student quality paint is cheaper, but it contains less pigments and more fillers, making it not only less efficient but also more difficult to handle. The rule of thumb when buying paint is: get the best quality you can, even if it means affording to buy a limited amount of colors.

2. A Few Colors
Ask 10 painters about what colors they must have on their palette, and you’ll get 10 different answers. The choice is very personal and related to your subject.
As a beginner, you can get started by buying a limited palette, with only white and the primary colors: a blue, a red, and a yellow. From these colors, you can potentially mix all hues without having to buy a lot of paint. You get a few benefits out of it: you save some money on paint and you are forced to get a lot of practice on how to mix colors. You can splurge on the white and buy a big tube of it, you’ll need it.

"No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition."
— Claude Monet

That sounds simple, but when you get to the store there are many blues, reds, and yellows; it can get quite overwhelming. If you paint landscapes or figures you may need different colors, but overall I’d recommend starting from primaries that are not too opaque. Look for paint colors that are more transparent, they will be a little easier to mix.
Many brands have the degree of opacity vs, transparency indicated on the tube. I give preference to the more transparent hues. One good option for a limited palette to get started: Alizarin Crimson, Ultramarine Blue, and Cadmium Yellow Light. Always get a white, usually Titanium (opaque) or Titanium-Zinc (less opaque) White.

3. Brushes of Different Shapes and Sizes
Brushes come in many types, sizes, and price ranges. Synthetic brushes are usually cheaper, while natural ones are more expensive. Be aware that cheap brushes tend to lose their shape faster, while the more expensive ones are more durable (granted that you clean them right).
The best sizes and shapes depend on your painting style; however, you can start with a paint set as small as three brushes: a big one for applying big areas of color, a medium one, and a small one for the final phase, the details.
Long handle brushes are good for oil painting. Hold them far from the ferrule, and try to use your whole arm, plus the long brush at every stroke. It will make your style loser.
I like flats or filberts, for their versatility. They can be used to obtain different kinds of brushstrokes. I have a few rounds and a couple of liners for the smaller details. Fan brushes are good to blend colors, but I don’t use them much.
Keep your brushes in good shape by cleaning them thoroughly after each painting session, rinsing well, and laying them flat to dry.

Tip: Keep the oil painting brushes separate from water media brushes.

"The object isn't to make art, it's to be in that wonderful state which makes art inevitable."
— Robert Henri

4. Painting Support
The most popular supports for oil paintings are canvases and boards.
Some artists paint on paper too, cheaper and less bulky to store than stretched canvas. When using paper, make sure you seal the surface, for example using shellac, or the paper will rot with time.
Acrylic gesso is a great primer for oil painting, and you can prime your own canvases and boards if you want.
It is OK to paint with oil over acrylic, but you cannot paint with acrylic over oil.

5. Mixing Palette
You’ll need a palette on which you mix your oil paint. This can be made of wood, glass, plastic, or paper. Non-porous surfaces are easier to clean afterward.
Many artists use a glass palette or a butcher plate with raised edges. They are very sleek and make cleanup easy. I like to use a Mijello airtight palette, and sometimes I use a convenient disposable paper palette.
The airtight palette keeps the paint wet for a few days and it makes easy to transport the paint even after that it has been squeezed out.

Tip: Use a palette knife to mix big amounts of paint. Mixing a lot of paint using a brush, fills the base of the bristles with paint and makes it very hard to clean. Paint residue in that area causes the brush to spread out and lose its shape.

6. Easel
You could paint horizontally, with the support laying on a table, but I like to paint with the canvas propped up on an easel and parallel to my eyes.
There are some very inexpensive easels, some are very light and simple, others are sturdier and may have a space to store paints and brushes.
If you like to sit you can get a tabletop easel. I usually paint while standing, so I own a few studio easels.

7. Paint Thinner
If you have painted with acrylics or watercolors before, you are used to thin paint with water.
For classic oil painting you thin your paint with turpentine – get the odorless kind. The thinner may also be used to clean the brushes.
There are also water soluble oil paints. In that case, your thinner is water.

8. Cloth Rags or Paper Towels
Always keep a paper towel or a fabric rag handy to quick-clean your brushes or to wipe off areas from the painting.

COLORS
Yellow, Ochre, Chrome Yellow, Titanium white, Black, Burnt brown

SOLD / INR 12,000

SIZE / 4 Panels of L : 24 inch W : 12 inch

Suffragette

Suffragatte were radical feminist who symbolized positivity and strength.

Abstract / Cubism / Geometric
"Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms. Well then, think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affect us more or less intensely."
-Pablo Picasso

If you were asked to choose between an artwork that displayed amazingly realistic rendering or one that is able to express ideas in a very unique way, which would you choose?
In this artwork I tried to strike a balance between Abstract and Geometric form of art. This Art work is unique in itself as it involves around Abstract with Geometric and constructed on Panels using Cubism technique.

Color
Earthy Tones like Antique Brass, Raw Sienna, Manatee, Sepia, Goldenrod, Soot Black and Glitterati Gold

Brushstroke
Expressive Brush Strokes work reveals what I like to call, "the hand of the artist". I think that this why I am so drawn to paintings like these. In my own work, I tend to be controlling over the marks which can lead to overwork and stiffness. As an artist, I am always trying to loosen up and let the marks tell more of the story.
This artwork is intend to be Expressive and thus the strokes.
The impressions seen on the face of the women are showing Suppression, Intimidation, Anger with Boldness. She tends to symbolize women's strength in the life of this world.

Supplies
Wooden Panels (L: 24 inch / W: 12 inch), Primer, Sealant, Polyfilla, Paint brush, Acrylic Paint color and Pigments with Gold Shimmer.

Available / INR 40,000
SIZE / 4 Panels of L : 24 inch W : 12 inch

Vehemence

"It burst upon them ere long with awful fury and grandeur, the elements warring with incredible vehemence."

- HUNTING THE LIONS : R.M. BALLANTYNE -

Expressionism

Expressionism is a modernist movement, initially in poetry and painting, originating in Northern Europe around the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.
Fine detailing using thin tip brush to depict the jewels and expressions.

Color
Titanium white, Cadmium yellow, Sap Green, Cadmium orange, Ivory Black, Tangerine & Ochre

Brushstroke
A round brush is one of many types of acrylic painting brushes. They range in size from a very large radius to a very tiny radius. The typical round brush will form a point with its bristles.

There are several different techniques that you can do with just this brush. For example, you can change how you hold the brush, how much pressure you’re putting on the brush, how much paint to add to the bristles, etc. If you need to paint a flowing, wavy line, the round brush is a great tool for that.
To paint a freestyle line, dip your round brush in water and pat it slightly dry. Dipping your brush in water first is helpful for the flow of acrylic paint. Make sure you wipe the metal part of your brush so water does not drip down unexpectedly.

Then dip your round brush into your desired paint color. I find it helpful to twist your brush as you’re loading the paint to keep the bristles pointed.
Paint any kind of freestyle line. If you need to change the thickness of the line, simply adjust the pressure. Press harder with the brush to achieve a thicker stroke. Press lighter to achieve a thinner stroke.

Supplies
Thin Tip Round Brush, Fine Grain Canvas, Primer, Oil Paint color, Thinner and Lin Seed Oil

SOLD / INR 12,000
SIZE / L : 18 inch W : 18 inch

Vitarka

The name comes from the Sanskrit root words vi, which is a prefix to verbs and nouns it expresses and tarka which means “reasoning” or “inquiry."

Mental activities that are manifest both in normal consciousness and in the first stage of DHYANA.

It means "thought," "applied thought," or "distracted thoughts." Vitarka can be considered an intermediate step in meditation.

The other four factors of pathama jhana which come after vitarka are:

Vichara (sustaining the mental focus)
Priti (meditative joy)
Sukha (meditative happiness)
Ekagrata (single-minded concentration)

Figurative Abstract Art

The term has been particularly used since the arrival of abstract art to refer to artists that retain aspects of the real world as their subject matter, though in a general sense figurative also applies retrospectively to all art before abstract art. Figurative art, sometimes written as figurativism, describes artwork (particularly paintings and sculptures) that is clearly derived from real object sources and so is, by definition, representational. The term is often in contrast to abstract art.
However, "abstract" is sometimes used as a synonym for non-representational art and non-objective art, i.e. art which has no derivation from figures or objects.
Color

Titanium white, Magenta Pink, Neon Pink, Cobalt Blue, Periwinkle (very light blue), Lavender, Ivory Black, Crimson Red.

Brushstroke
Scumbling - First, apply an even layer of paint as a background. (I like to make a gradient from white to blue to create a sky). Wait for it to fully dry. Then use a dry bristle brush dipped in paint and rub it on the canvas. You can use different colors to get lots of different effects. My favorite use for scumbling is making wispy clouds.

Impasto - The impasto painting technique results in a highly textured, thickly painted surface. To get this appearance I like to squeeze a few colors on the palette first. With a palette knife, I scoop up a large amount of paint and transfer it to the canvas. Then, I wipe the knife clean and scoop up another color, placing it near the first one on the canvas. I work it across the canvas, avoiding pressing the paint flat with the knife while forming peaks.

Supplies
Thick Tip Round Brush, Fine Grain Canvas, Primer, Acrylic Paint color, Palette Knife and Cobra Artists Painting Paste

Prince of Kapilavastu

The word Siddhartha is made up of two words in Sanskrit language, siddha (achieved) + artha (what was searched for), which together means "he who has found meaning (of existence)" or "he who has attained his goals". In fact, the Buddha's own name, before his renunciation, was Siddhartha Gautama, Prince of Kapilavastu.

Favuism
Fauvism was the first of the avant-garde movements that flourished in France in the early years of the twentieth century. The Fauve painters were the first to break with Impressionism as well as with older, traditional methods of perception. Their spontaneous, often subjective response to nature was expressed in bold, undisguised brushstrokes and high-keyed, vibrant colors directly from the tube.

The fauvists were interested in the scientific color theories developed in the nineteenth century – particularly those relating to complementary colors. Complementary colors are pairs of colors appear opposite each other on scientific models such as the color wheel, and when used side-by-side in a painting make each other look brighter.

Color
Titanium white, Cadmium yellow, Burnt Sienna, Cadmium orange, Mars Black, Goldenrod, Tangerine, Ochre, Rust and Matt Gold

Brushstroke
Brushstrokes of romanticism. The romantic brushstrokes stand out, which is distinguished by being dense, with an intense color. Brushstrokes that build delicately but very successful. They tend to highlight more when these brush strokes contain light colors and the background of the composition has dark tones.

Supplies
Craft Knife to scratch some fine lines, Sword Liner, Dagger Brush, Fine Grain Canvas and Primer, Acrylic Paint color.

SOLD / INR 18,000
SIZE / L : 48 inch W : 36 inch

Abstract Art
The word abstract means to separate or withdraw something from something else. The term can be applied to art that is based an object, figure or landscape, where forms have been simplified or schematized. Abstract art is often seen as carrying a moral dimension, in that it can be seen to stand for virtues such as order, purity, simplicity and spirituality.

Color
For coloring, metal colors, shades of blue, red and white; certain intense hues were obtainable only from the rarer minerals, such as cinnabar (orange-red vermilion).

Brushstroke
Brushstroke with volume or transparency. Brushstrokes of romanticism. Delacroix, Rubens and Goya are three masters of well-crafted brushwork. In the baroque, rococo, romanticism and classicism styles, it was developed a brushstroke work that controls the volume of paint, its thickness and with transparency. The romantic brushstrokes stand out, which is distinguished by being dense, with an intense color. Brushstrokes that build delicately but very successful. They tend to highlight more when these brush strokes contain light colors and the background of the composition has dark tones. Brushstrokes which draw the shapes, superimposed on other layers of color.

Supplies
Acrylic colors (Faber Castell), Metal Paints(Faber Castell), Textured Effect using 3D Liners(Staedtler), Paint Brush(Staedtler), Fine Grain Ready Finish Canvas (Brustro), Wooden Canvas Stretcher Bar (Home Made), Primer (Pidilite), Fixative Spray (Brustro) and Charcoal Pencil (Staedtler).

SOLD: INR 14,000

Size: L : 42 inch W : 30 inch

Photorealism Art
Photorealism is a genre of art that encompasses painting, drawing and other graphic media, in which an artist studies a photograph and then attempts to reproduce the image as realistically as possible in another medium.

Color
Getting inspired by colors of FIRE; the background is created using hues of Orange, Ochre, Rust and Gold.
Color Pigment powder of Red Brown and Burnt Sienna

"Until one has loved an animal, a part of one's soul remains unawakened."

- Anatole France

Photorealism
Photography and the art of Photorealism went hand-in-hand while also competing with each other at the same time, and they still do. The genre of Photorealism works with a fallacy, while it is supposed to be 'realistic', but it being based out of a photograph, the genre gets stolen of the factual and situational reality.

Photo realist paintings cannot exist without a photograph and the technical details that it inhabits. It deals a lot with the skills of observation and grasping the details of the dimensions in the photograph. With the extra attention paid to the visual media today and many software's in the existence where any photograph can be turned to any other medium-kind of art, and the authenticity of the art and photorealism can be questioned.

Color
Titanium white, Cadmium yellow, Burnt Sienna, Cadmium orange, Mars Black, Goldenrod, Tangerine, Ochre, Rust and Matt Gold

Brushstroke
Since, painting the hairs on the head involves loose and expressive strokes, which may cross the eyes and nose, it is a good idea to paint these features next. As the eyes will be the focal point, it is worth spending time painting them in detail, using small, pointed, round and precise brushwork. Treat the eyes as part of the whole, and work outwards into the eye socket. Use negative painting to form very fine hairs around the eyes and along the left side of the nose, this laborious method is worth it at this stage, over the rest of the painting it is too tight and restrictive. As you paint the nose, pay close attention to the juxtaposition of light and dark tones, as this is what will give the impression of shine.

Keeping your hand and Brush moving in the direction that the hair falls, apply loose brushstrokes onto the dry surface of the first layer. Let the strokes cross each other, and allow the paint to flow. Drop in extra paint or water according to the tone needed. Dampen small areas if you feel it needs a softer mark. Use color creatively; base it on your subject, but don’t be afraid to use Burnt Sienna. Placing these complementary colors next to each other will increase the visual excitement and enhance the feeling of movement. Continue to work over the whole image in this way.

Supplies
Craft Knife to scratch some fine lines, Sword Liner, Dagger Brush, Fine Grain Canvas, Primer, Acrylic Paint color and Gold Powder.

GIFTED
SIZE / L : 24 inch W : 18 inch

Puissance

The glass bears her image, so she cannot be a witch; however, she saps my Puissance.

Figurative Abstract Art

Titanium white, Magenta Pink, Neon Pink, Cobalt Blue, Periwinkle (very light blue), Lavender, Ivory Black, Crimson Red.

Supplies
Thick Tip Round Brush, Fine Grain Canvas, Primer, Acrylic Paint color, Palette Knife and Cobra Artists Painting Paste

Figurative Abstract Art

The paintings and art that are Vastu accordant, make the space spirited and more livable. Vastu arts and paintings aid in bringing together 'homeliness' and fabricate a zone or space that can be viable to stay, work or just be.
The whole universe is made up of five basic elements - the earth, water, fire, air and sky or space. Our body is also made up of these five basic elements of nature. The five elements are related to our five senses of smell, taste, hearing, touch and sight. Any imbalance in our external and internal Vastu translates into unhappy situations. Vastu teaches the individual to live in balance and harmony with these sense organs.
Each of these elements corresponds to a natural force, which affects our life as given below: Sky: Space or Cosmic Energy Air: Wind Intensity and Direction Water: Gravitational Attraction of the Earth Fire: Solar radiation Earth: Magnetic Field of the Earth
Color

These are full of positive or negative energy, known as chi. According to the proponents of this practice, our choice of color in a space cannot be solely subjective; it must be made by analyzing all factors present in the space, to achieve coherence.
Ultramarine Blue, Sap Green, Crimson Red, Cadmium Yellow, Ivory White, Beige, Titanium, Silver, Dark Blue, Soot Black, Copper, Burnt Umber, Burnt Sienna, Russet, Goldenrod

Brushstroke
Acrylic Glazes are the secret ingredient that bring photorealist paintings to life. A glaze is basically a thin layer of paint that is very translucent, allowing some of the color underneath to show through. The glaze subtly transforms the color of what is beneath. When many glazes are applied, the painted image begins to develop a sense of solidity and form, thanks to all the subtle layers of glazed paint.

On Hair highlights of Gold were used.

Supplies
Both Thick Tip Round Brush and Thin Tip Round Brush, Fine Grain Canvas, Primer, Acrylic Paint color, Gold Dust, Fixative Spray & Charcoal Pencil and Ink Liner

Maitreya

The name Maitreya is derived from the Sanskrit word maitrī "friendship".
The name Maitreya means ‘Compassionate One’ and designates the Votaries of the Lotus Sutra.

Impasto
A painting technique, impasto is a thick application of paint that does not attempt to look smooth. Instead, impasto is unabashedly proud to be textured and exists to show off brush and palette knife marks. Traditionally, artists strive for clean, smooth brushstrokes that are almost mirror-like. This is not the case with impasto. It is a technique that thrives on expressive textures of thick paint that pop out from the work.

Impasto is most often created with oil paints as it is one of the thickest paints available. Artists can, however, use a medium in acrylic paints to get a similar effect. The paint may be applied with a brush or a paint knife in thick globs that are spread onto the canvas or board. Impasto painters quickly learn that the less you work the paint, the better the result. If one were to touch the paint with a brush or knife repeatedly, it works itself into the canvas, becoming duller and flatter with each stroke. Therefore, for impasto to have the greatest effect, it must be applied with deliberation.

Monochrome Painting
How many colors do you need to create great art? Sometimes, just one.
When you have a favorite color—even if that favorite color is black or white—why decorate with anything else? Besides, a room dipped in a single color is visually transfixing and very, very cool. Sure, variation is important, but you can inject personality and intrigue with textural contrast and tonal nuances. And aside from looking stylish, going monochrome makes it infinitely easier to come up with a color scheme, thus making the entire design process much less stressful. To give you a taste of the trend's beguiling effect, we rounded up nineteen monochromatic effects, from neutral to vibrant, minimalist to maximalist, and everything in between.
A monochrome painting is a work of art that consists of a single color. In fact, the word monochrome literally means ''one color.'' It's a different approach to art, but one that's used more widely than you might think.
So, how do you create a painting if you're only using one color? The key to this is remembering that blue and green are different colors, but dark blue and light blue are not; these are just values of the same color. From the base color, a hue can be tinted by adding white, making it lighter. Theoretically, you can continue doing this until achieving almost pure white. At the same time, a color can be shaded by adding black. Thus, artists can paint an entire piece consisting of lines, shapes, and figures in various shades and tints that are, technically, only one color.
In my art I'm always very concerned about how the light/dark value structure in my images is affecting the mood, so I try to keep the colors fairly tame in order to let that structure dominate. However, here and there we'll use a splash of bright color, to lift a focal point and add drama to an image.

Color

Titanium white, Ivory Black, Boysenberry, Russet, Payne's Grey, Cardinal, Imperial Purple, Royal Ruby, Bronze, Graphite, Flint, Porpoise,

Brushstroke
Swirling Brushstrokes can create so simple, yet bold and dramatic paintings. I think what I love most about these strokes is that the paintings get power while, at the same time, still free of absolute definition. These impetuous brushstrokes and swirls can take any form, incite any emotion. Swirling brush strokes rely on thick paint to give them dimension and add to the expressive qualities of the work.

Supplies
Unstretched canvas, Spatula, Silver glitter, Silver leaf pages, Both Thick Tip Round Brush and Thin Tip Round Brush, Primer, Acrylic Paint color, Fixative Spray & Charcoal Pencil

SOLD / INR 25,000
SIZE / L : 54 inch W : 36 inch

Halcyon Days

Symbol of Love and Happiness form Past.

That idea originated with the Greek myth of Alcyone, daughter of Aeolus, god of the winds, who was married to the king of Thessaly. When the king was drowned at sea, Alcyone threw herself into the water in her grief. However, the gods transformed her into the halcyon bird whom the wind carried to be reunited with her husband.

Figurative Abstract Art

Titanium white, Ivory Black, Burnt Umber, Burnt Sienna, Cadmium yellow, Russet, Goldenrod, Payne's Grey, Copper

Brushstroke
An OMBRE effect is the visual gradation from a light color to a dark color or vice-versa. It is a type of gradient that is specific in it's light-to-dark nature, and is often characterized by its inherent drama and mood swings.
For the male figure, SILHOUTTE which is used for image or design in a single hue and tone. It was most popular in 18th- and 19th-century cut or painted profile portraits done in black on white or the reverse. Silhouette also is any outline or sharp shadow of an object.

Supplies
Both Thick Tip Round Brush and Thin Tip Round Brush, Fine Grain Canvas, Primer, Acrylic Paint color, Gold Dust, Fixative Spray & Charcoal Pencil

Nohealani

A completely oblivious girl to the real world but has an amazing amount of positive energy.

The Art of Exaggeration
Exaggeration is the representation of something as more extreme or dramatic than it really is.
Focusing on the artistic impulse to exaggerate and distort realistic features, characteristics, and situations, this picture encompasses images of the grotesque, caricature, and satire. Such artistic devices take on many forms: the tragic and comic, the ridiculous and sublime, the horrible and ludicrous, and the realistic and fantastic. Whereas some scenes of exaggeration focus solely on the distortion of facial features, others parody specific people and character types, often as commentaries on the political, social, or moral foibles of society. The purpose of art is not to depict reality—it is to transform reality into something more interesting and meaningful. And the only way to do this is to distort, exaggerate, or in some way embellish what is there.

The Exaggeration in this art is EYES. Eyes one Human body part where all the emotions can be seen.

“The eyes shout what the lips fear to say.” – William Henry

Color

Earth tones are usually considered to be friendly, contemporary, and inviting. They are a mixture or tonalities of browns and tans, which can include richer colors containing some brown, such as orange, red, green, yellow, purple, and blue. They tend to more muted and flat colors.
Naphthol Red, Cadmium Red, Phthalo Blue, Azo Yellow, Cadmium yellow, Burnt Umber, Phthalo Green, Titanium White and Payne’s grey.

Brushstroke
Scumbling is the rough and uneven application of a layer of thin paint over a layer of another color, producing a lively and unpredictable texture and color variety. Rather than a smooth, even gradation, scumbling produces a more casual blend. Colors that are too warm, too cool, or too bright can be modified with a scumble of a suitable color. Scumbles are usually applied with a circular motion of the brush, but the effect can also be achieved with streaks, dabs, or smudges.
Acrylics dry fast, but if you work quickly you can scumble two colors into one another while they are still wet.
While the paint is still wet, you can create gradations of color by “knitting” the various tones of color together, using carefully controlled brushwork.

Supplies
Both Thick Tip Round Brush and Thin Tip Round Brush, Fine Grain Canvas, Primer, Acrylic Paint color, Fixative Spray & Charcoal Pencil

Relief Art
The term Relief Art is derived from the Latin word relevo which means “to raise.” The three-dimensional appearance of the sculpted structed on a solid, plain background is what makes a piece of relief art so special and unique. Relief art is a unique art form which blends the sculptural arts in the three-dimensional structure and the pictorial arts of the two-dimensional background.
As compared to other sculptural arts like pottery or making statues, relief art has a number of advantages. Relief art is able to explore wider ranges of themes and subjects as compared to a statue. Owing to its elaborate layout of a sculptural structure mounted on solid background, relief art can widen its capacity to show an elaborate of a battle, for instance.
Relief is a sculptural technique, where the sculpted elements(CLAY/ TEXTURE PASTE) remain attached to a solid background of the same material. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. RELIEF PAINTING can be made in two ways, either cut the surface in one by one layer to create the relief OR create layers on overlapping layers to create the relief.

How Does Relief Art Add To The Ambience Of Your Home?
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Color

Oxide pigments are an important addition to any pigment selection, particularly for their higher tinting strength in opaque bases and the unique color selection. Iron oxide is the most important brown pigment, but a few organic pigments are used for specialty applications.

For this art to be as natural as possible, Organic Pigments were used Fanchon Yellow, Lake of Carmoisine, Lake Phloxine and Lake Black PN

Brushstroke

We all have moments when we need to include very small details in our paintings. We usually go for the smallest round brush for such times but we can't seem to create continuous long lines because we keep re-dipping the brush! The answer to this is the rigger brush.
A "rigger brush" is also called a "liner" or "script" brush. Its tuft is longer than usual so it can hold more paint and water at once. It is used commonly for hassle- free long lines may they be straight, jagged, or curved.
Watch the demonstration below to see the great feats this tiny brush will bring you to.
A 1/2 inch bristle brush was used to apply the initial washes in this painting. These washes were then worked over with simple direct marks made with a variety of flat brushes. The tricky part was keeping a balance between the understated areas and the sharp region of detail. Threading fine crisp rigger lines through the painting help tie the two areas together.

Supplies
Canvas Board / Plywood (5mm thick) 12 * 18 INCH, Marble Powder, Arabic Gum, Acrylic and Oil Colors, Both thick and thin Paint Brush, Bristle Brush, Flat Brush, Rigger Brush, Plastic Sheet for making cones, Cup, Spoon, Masking Tape, Multipurpose Scissor.

SOLD / INR 25,000

SIZE / L : 36 inch W : 24 inc

Sifar

"Mujhse Hisaab Talab Karte Ho, Main Toh Ek Ajim Sifar Hoon"

— Aziz Tamannai

Sifar is the end. But it is also the beginning. It is fountain of all life-force; it is also the point where you are free in every sense of that word. At zero, you have everything and nothing. It is the point where you have the greatest power because you can commence something, and the greatest freedom because you can commence anything.

Sifar is where you are really and truly free. Sifar or Nothingness is equivalent to Niravana or Moksha or freedom from the vicious cycle of our materialistic existence
Sifar is what sages aspire for; Sifar is where all spiritual paths converge; Sifar is where you can find your spiritual bliss, free from all materialistic bonds and expectations and struggles.

Figurative Art
``It takes years for representational artists to develop their skills in mimicking the objects before their eyes.´´ -Kenn Backhaus
This term simply refers to artwork featuring subject(s) that retain a fair amount of real-world characteristics. It is always representational and the audience is easily able to recognize what they are looking at, no matter what degree of realism is involved in the creation of the piece.
The term figurative became a common term to use in art conversation after the arrival of abstract art.
The elegantly seated young woman clad in simple white upper garment and printed white inner is a royal personage with spiritual leanings. The demeanor of her face, speak of her enlightened stage. Subtle use of colours and lines makes the painting extremely delicate.
The transparency of the sheer is the most subtle part of the painting.

Color

Such as glazing and color washes to achieve color depth (multiple layers of translucent or transparent color that give the illusion of three dimensions) and luminescence (areas of light showing through the paint). Both techniques are highly effective in achieving "heightened" or "beyond real" realism in painting. Transparent painting techniques are also employed in other art styles to add interesting light and overlay effects.

Artists' paints are transparent, translucent or opaque by nature. For example, cadmium colors, cerulean blue and chromium oxide green are opaque, while rose madder is transparent and ultramarine blue is translucent. Colors become opaque when white is added to them.

Vermilion (mercuric sulphide) and red lead were the most common reds. Many greens were used. The most common was verdigris, copper chloride produced by the reaction of copper metal with salt water. Metallic pigments were also used, including gold in painted powder form, and a tin metal that was silver in color. Golden colors considered to be the symbols of prosperity of the Mughals began to be used increasingly. A thin wash of white was then applied, through which the outline remained visible. The colors were then applied in several thin layers and rubbed down with an agate burnisher to produce a glowing, enamel-like finish. The colors used were mostly mineral and sometimes vegetable dyes, and the fine brushes were made from squirrel’s tail or camel hair.

Brushstroke
Detailing - Often used when an artist is nearing the completion of a work, detailing should be done using much control and precision. Working with a small, fine brush, apply details and clean lines where needed. This is regularly performed to create particulars like the flowers within a landscape or other minute features that need careful attention. Emphasis given to certain elements in a painting which makes them attract more attention. Details that define an object or piece of art.

Supplies
Both Thick Tip Round Brush and Thin Tip Round Brush, Fine Grain Stretched Canvas, Primer, Acrylic Paint color, Fixative Spray & Charcoal Pencil, Gold Pigment

Nibbuti

NIBBUTI is meant to "go out," like a flame. Because fire was thought to be in a state of entrapment as it burned — both clinging to and trapped by the fuel on which it fed — its going out was seen as an unbinding.

Buddha's wisdom is broad as the ocean and his spirit is full of great compassion.

Transform your house into a home using Gautam Buddha Art as it imparts peace and serenity upon its immediate surroundings

Expressionism

Color
Gold Background—an auspicious treatment, used judiciously for peaceful, long-life deities and fully enlightened buddhas
Titanium white, Cadmium yellow, Ivory Black, Ochre, umber, Tawny

Brushstroke

Before sketching different parts of the composition, eight major lines of orientation are drawn. These include a central perpendicular, two diagonals, a horizontal and four outer borders. Now with charcoal or graphite the rough drawing of the deity in full accordance with the canonical proportions is delineated. Within a given composition, the center stage is invariably occupied by the principal personage, while all acolytes and attendants are greatly reduced in size to further emphasize the majesty and enormity of the central figure.
In an essentially linear pictorial expression like the Thangka, the art of outlining plays a significant role. To set off objects from the background or to demarcate subdivisions of a certain form, or to emphasize a swirling mass of flames, painters select the indigo and lac dyes for perfect results.
Finishing Details - At this final stage the facial features are finished and the eyes of the deities are painted. For this 'eye opening' an elaborate consecration ritual on an auspicious full moon day is fixed and only after the vivification ritual does the painter complete the eyes in swift sure strokes. The whites of the eyes are softened with orange and red at the corner ends, eyelid edges are darkened and then the iris is added according to the required stance of the deity. The two most commonly fashioned varieties of eyes are 'bow eyes' and grain eyes' besides a few fearsome looking ones for the wrathful deities.

In order to turn the areas of gold shiny they are burnished gently with an onyx tipped tool after placing a wooden support against the back of the canvas.

Supplies
Thin Tip Round Brush, Fine Grain Canvas, Primer, Acrylic Paint color, Thinner, Gold Marker, Bronze pigments.

SOLD / INR 18,000
SIZE / L : 48 inch W : 36 inch

Millenia

Millenia is a female name. Has the same meaning as the word "Millenium" meaning a span of a thousand years, New Generation, A hope for period of joy, serenity, and justice.

"You will teach them to fly, but they will not fly your flight. You will teach them to dream, but they will not dream your dream. You will teach them to live, but they will not live your life. Nevertheless, in every flight, in every life, in every dream, the print of the way you taught them will remain." – Mother Teresa

TIP:
A little of a darker color mixed into a lighter has a much greater impact than the same quantity of light mixed into a dark. For example, umber added to yellow rather than yellow to umber.

AVAILABLE / INR 20,000

SIZE / L : 48 inch W : 36 inch

Photorealism
The allure of photorealism for me is its innate paradox. My interest in photorealism is as philosophical as it is aesthetic. By laboring over such detailed works, I increase my capacity for awareness of the tiny details that comprise the fabric of existence, an experience which I believe is mirrored in the viewer's mind. The clarity presented in photorealistic paintings encourages clarity in the real world, in observing one's surroundings - which leads to a heightened appreciation of the myriad nuances of life.
A photorealistic painting begins with a blank surface, a photograph, and pigment, which the artist manipulates to create an illusion of reality. The creation of these paintings is a highly abstract process. Essentially, little blobs of color, carefully applied and blended, come to represent and imitate recognizable forms. As much as I admire the final product, I enjoy the process of creating them much more - savoring the surprise moments when the little blobs of color become "real".

Color

My preferred colors for mixing the full range of skin tones are:

Titanium white (with watercolor, the paper acts as the white)
Titanium buff
Cadmium yellow (medium or dark)
Cadmium red
Burnt sienna
Raw umber
Prussian blue

Brushstroke

BASE
Before I start with the face I paint the background also in large simple planes. Here I dilute the paint with a few drops of citrus turpentine. Ordinary white spirit also works well. I pay particular attention to the hairline. I don´t want to be sharp. The edges must be soft where the hair touches the skin.

HAIR
Stroke direction plays a huge role in the perception of hair when drawn or painted. If you see a flowing lock of hair, paint it in the same manner with your stroke. Curly hair can be captured with frenetic and squiggly lines! Hair is never just one color. Often it appears drastically different in the lights and in the shadows. Even hair that has been dyed one color will have a tremendous amount of variation.

I don´t simplify the hues by using middle ochre mixed with brown for the darker areas, and white for the lighter ones. In the darkest tones there is crimson, Veridian, sienna and cadmium orange. In the lighter parts of the hair I´ve used cadmium red light, permanent green light, viridian, yellow ochre and white. The lightest color in the hair is a mixture of ultramarine, crimson and white that I’ve prepared previously. This mauvish tint is great to make light areas in blond hair without the risk of progressing to red, yellow or blue.

EYES
First I give the eyes a special treatment. I paint a transparent layer of sienna and burnt umber. I smudge the paint with my finger so that I can still see the underdrawings. This creates a perfect base to continue later.

MOUTH
Then I paint the mouth in simple schematic planes. Cadmium red, venetian red, white and ultramarine blue are used here. I show the teeth as a continuous curved surface. I use my pre-mixed neutral gray light with some ultramarine blue and crimson. I always start with the shadows, then the halftones, then the lights. For the flesh I mix cadmium red light, white and ochre. Cerulean blue or permanent yellow-green tones are used for cooler or warmer tones. I’m still avoiding any details!

Supplies
To create my photorealist art, I usually use either acrylics, watercolors or colored pencils - but most often, acrylics.
Thin Tip Round Brush, Fine Grain Canvas, Primer, Acrylic Paint color, Thinner, Charcoal Pencil, Acrylic Mediums, Surfaces, Reference Photo, Varnish, Palette, etc.

Expressionism
The arrival of Expressionism announced new standards in the creation and judgment of art. Art was now meant to come forth from within the artist, rather than from a depiction of the external visual world, and the standard for assessing the quality of a work of art became the character of the artist's feelings rather than an analysis of the composition.

Color

Home made dyes to create shades of -

Orange: carrots, gold lichen, onion skins
Brown: dandelion roots, oak bark, walnut hulls, tea, coffee, acorns.

Brushstroke
Grading or Fading - Rather than blending the colors of paint, grading is a matter of creating value gradation to show separation. For instance, a Amber becoming Marigold as it nears the horizon. This helps to show the separation between the ground and wall. To create gradation or fading dip brush in water and stroke horizontally in the same manner as flat wash. The water will dilute the paint color causing a fading effect.
The above painting is an excellent example of natural hues grading a separation of floor and wall.

Supplies
Nature is celestial and earthly at the same time; so using mother nature's blessings - natural and eco friendly pigments and colors like Turmeric, Carrots, Gold Lichen, Onion skins, Petal pigments, Beetroot Powder, Dandelion Roots, Oak Bark, Walnut Hulls, Tea, Coffee, Acorns, Salt, Soda, Flour were used.
Thin Tip Round Brush, Fine Grain Canvas & Palette knife.

AmritaParyani.ART

Ek Onkar

Yunay

5 Elements of earth

Noor (Radiance)

The Color Wheel

Trecel - Taking Flight

Savannah

BUDDHA 108

Pragati

Suffragette

Vehemence

"It burst upon them ere long with awful fury and grandeur, the elements warring with incredible vehemence."

Vitarka

Prince of Kapilavastu

Her Tranquility

Nirvana

Skizzle

You my skizzle, dawg. I'm just hangin' wit my skizzles.

Puissance

Aphrodite

Maitreya

Imagine. We Create!

Halcyon Days

Nohealani

Yugal

Sifar

— Aziz Tamannai

Nibbuti

Millenia

Posergy