Monthly Archives: January 2012

10 Tips on learning how to paint

This list is not complete and it can continue to develop with the basic ideas in each paragraph. I came across the list on a Russian website. I have tried to clean up the initial google translation a little. The original list was posted by Yefim Repin. I personally really like the suggestions, so I hope this will also help others.

[tabs slidertype="left tabs"][tabcontainer] [tabtext]1. Sketch[/tabtext] [tabtext]2. Copies of Old Masters[/tabtext] [tabtext]3. Draw from memory[/tabtext] [tabtext]4. Study and consult with the nature.[/tabtext] [tabtext]5. Read the professional literature[/tabtext] [tabtext]6. Look for a mentor[/tabtext] [tabtext]7. Repeat mistakes[/tabtext] [tabtext]8. Do not draw from photos[/tabtext] [tabtext]9. Take breaks[/tabtext] [tabtext]10. Engaged in creative work[/tabtext] [/tabcontainer] [tabcontent] [tab]1. Sketch

The first and most important point. Do at least 5-6 sketches per day. This rule works like this: the more the better. Use every opportunity to paint at home, at work, on the road. It develops a “hand”, the sharpness and speed of perception, the ability to see the proportions and character. It is useful to draw storyboards for the film, comics as step by step. They have to control the movement of the characters, watching their recognizability.[/tab] [tab]2. Copies of Old Masters

Surrounded yourself with role models, develop a taste. Make a copy every 3 months. It should be solid with good originals. Study of the great masters (Michelangelo, Rubens, Holbein, Dürer, Repin, Serov, Feshin and others). Try to maximize how you can get closer to the source, studying not only the techniques of the master, but his biography, the material culture of the time. [/tab] [tab]3. Draw from memory

Even when working from nature, we work from memory. During a lengthy lectures draw sketches from memory, examining details, draws at home. By developing visual memory, you will not only become good at drawing but your drawings will also become more convincing.[/tab] [tab]4. Study and consult with the nature.

Explore nature at least 2 hours per day under the guidance of an experienced mentor. Principle: from simple to complex. For the fruitful development of professional skills it is necessary to have an individual plan of study or to follow the prescribed curriculum. Work in the studio, combine it with a picnic. Get outside. Trust your instincts and always compare theory with practice.[/tab] [tab]5. Read the professional literature

All you need to know, has long been written – do not reinvent the wheel. Read a book every month. Technique and technology of materials, art history, anatomy, cromatics, tracts of old masters, artists’ biographies, the physics of natural phenomena, the basis of perception, psychology, philosophy – read everything connected with the profession of an artist. Today, the Internet provides a global opportunity to get almost any material. But you can not trust everyone.[/tab] [tab]6. Look for a mentor

Constantly look for a mentor, according to their professional growth. You have to completely trust his knowledge, experience and his creative activity should call the universal respect. Often, good artists can not be mentors. They are just not cut out for teaching. On the other hand, the teachers often perform supervisory functions, and have not practiced the art. Their truth are without this skill and craftsmanship. Sometimes, only one meeting with a true master can change your whole future.[/tab] [tab]7. Repeat mistakes

Usually, people are encountering the first obstacle – abandon the job. They are afraid of repeating mistakes. It did not work – start a new one! Do not be afraid to make mistakes – take a look at them closely. Perhaps it “speaks” your identity. Turn their disadvantages into advantages.[/tab] [tab]8. Do not draw from photos

The temptation to simplify the work from nature can have irreversible consequences. Amateur painter, not realizing the intricacies of identifying shapes, wittingly or unwittingly falls in relation to view the world through the lens. He feels that this will bring it to nature. Believe me – it’s not the case. The camera can not replace the work your heart and mind to transfer the reality on the plane. And especially do not revise it creatively, which is particularly valuable. Only mustered sufficient experience and becoming a master can be used to collect material fotoappart and fixation point.[/tab] [tab]9. Take breaks

Do not get hung up on one and the same – to know how to switch. If it doesn’t work, take a break. Go for a walk. Start a fundamentally different picture, change the point of view, change the equipment, try new stuff. It is useful to have several simultaneous works with different tasks, using a new technique. Sometimes you just need to step back to look at ourselves.[/tab] [tab]10. Engaged in creative work

Put it in front of a big goal. We must always remember why you decided to learn. Do not shelve plans for their artistic and creative ideas. Begin to implement them right now. Take part in exhibitions, competitions, regardless of the level of training and distance. Be an artist![/tab] [/tabcontent] [/tabs]

Summary
There are many ways to identify weaknesses in their work. The main remedy, I think, is creative activity. Taste and other skills can be developed if there is a potential energy. Perhaps this is the talent, without which any regulations powerless.

- Yefim Repin

Fairy Pin Up: JunePinup-fe: Juni

kiri oesterg pin up june small 700x540 <!  :en  >Fairy Pin Up: June<!  :  ><!  :DA  >Pinup fe: Juni<!  :  >

Fairy Pin Up 'June'. Digital painting inspired by the Midsummer's celebrations in Scandinavia.

The fairy pin up for June comes with a story. The witchy nature of the piece is due to old danish traditions of Sankt Hans evening (Beltaine to some). On midsummer in Denmark we have an old tradition where we have midsummer night’s bonfires along the beaches and burn a “witch” made of old clothes and straw, filled with fireworks, upon these fires. It is said that upon midsummer’s night all the witches gather on top of hill Blocksberg in Germany where they have a celebration.

kiri oesterg pin up june small 700x540 <!  :en  >Fairy Pin Up: June<!  :  ><!  :DA  >Pinup fe: Juni<!  :  >

Fairy Pin Up 'June'. Digital painting inspired by the Midsummer's celebrations in Scandinavia.

Pinup-feen for Juni månede er inspireret af den danske Sankt Hans fest, derfor er hun klædt ud som en heks. Sankt Hans aften er ikke voldsomt kendt i udlandet, det der kommer tættest på er den Britiske pagan sommerfest ved navn Beltaine. Formålet med begge er at fejre midsommeren.

The Thumbling

koesterg thumbling edit WEB 150x150 The Thumbling

The Thumbling by Kiri Østergaard Leonard, 2011

This piece was made for the ArtOrder’s Grimm Tales challenge. I went with the fairy tale ‘The Thumbling’ from The Brother’s Grimm collection.

The Thumbling by the Brothers Grimm

THERE was once a poor peasant who sat in the evening by the hearth and poked the fire, and his wife sat and span. Then said he, “How sad it is that we have no children! With us all is so quiet, and in other houses it is noisy and lively.”
“Yes,” replied the wife, and sighed, “even if we had only one, and it were quite small, and only as big as a thumb, I should be quite satisfied, and we would still love it with all our hearts.” Now it so happened that the woman fell ill, and after seven months gave birth to a child, that was perfect in all its limbs, but no longer than a thumb. Then said they, “It is as we wished it to be, and it shall be our dear child”; and because of its size, they called it Thumbling.

They did not let it want for food, but the child did not grow taller, but remained as it had been at the first; nevertheless it looked sensibly out of its eyes, and soon showed itself to be a wise and nimble creature, for everything it did turned out well.

One day the peasant was getting ready to go into the forest to cut wood, when he said as if to himself, “How I wish that there was any one who would bring the cart to me!” “Oh, father,” cried Thumbling, “I will soon bring the cart, rely on that; it shall be in the forest at the appointed time.” The man smiled and said, “How can that be done, thou art far too small to lead the horse by the reins?” “That’s of no consequence, father, if my mother will only harness it, I will sit in the horse’s ear, and call out to him how he is to go.” “Well,” answered the man, “for once we will try it.”

When the time came, the mother harnessed the horse, and placed Thumbling in its ear, and then the little creature cried “Gee up, gee up!”
Then it went quite properly as if with its master, and the cart went the right way into the forest. It so happened that just as he was turning a corner, and the little one was crying “Gee up,” two strange men came towards him. “My word!” said one of them. “What is this? There is a cart coming, and a driver is calling to the horse, and still he is not to be seen!” “That can’t be right,” said the other, “we will follow the cart and see where it stops.” The cart, however, drove right into the forest, and exactly to the place where the wood had been cut.

When Thumbling saw his father, he cried to him, “Seest thou, father, here I am with the cart; now take me down.” The father got hold of the horse with his left hand, and with the right took his little son out of the ear. Thumbling sat down quite merrily on a straw, but when the two strange men saw him, they did not know what to say for astonishment. Then one of them took the other aside and said, “Hark, the little fellow would make our fortune if we exhibited him in a large town, for money. We will buy him.” They went to the peasant and said, “Sell us the little man. He shall be well treated with us.” “No,” replied the father, “he is the apple of my eye, and all the money in the world cannot buy him from me.”

Thumbling, however, when he heard of the bargain, had crept up the folds of his father’s coat, placed himself on his shoulder, and whispered in his ear, “Father, do give me away, I will soon come back again.” Then the father parted with him to the two men for a handsome bit of money. “Where wilt thou sit?” they said to him. “Oh, just set me on the rim of your hat, and then I can walk backwards and forwards and look at the country, and still not fall down.” They did as he wished, and when Thumbling had taken leave of his father, they went away with him. The walked until it was dusk, and then the little fellow said, “Do take me down, I want to come down.” The man took his hat off, and put the little fellow on the ground by the wayside, and he leapt and crept about a little between the sods, and then he suddenly slipped into a mouse-hole which he had sought out. “Good evening, gentlemen, just go home without me,” he cried to them, and mocked them. They ran thither and stuck their sticks into the mouse-hole, but it was all lost labour. Thumbling crept still farther in, and as it soon became quite dark, they were forced to go home with their vexation and their empty purses.

When Thumbling saw that they were gone, he crept back out of the subterranean passage. “It is so dangerous to walk on the ground in the dark,” said he; “how easily a neck or a leg is broken!” Fortunately he knocked against an empty snail-shell. “Thank God!” said he. “In that I can pass the night in safety,” and got into it. Not long afterwards, when he was just going to sleep, he heard two men go by, and one of them was saying, “How shall we contrive to get hold of the rich pastor’s silver and gold?” “I could tell thee that,” cried Thumbling, interrupting them. “What was that?” said one of the thieves in a fright, “I heard some one speaking.” They stood still listening, and Thumbling spoke again, and said, “Take me with you, and I’ll help you.”
“But where art thou?” “Just look on the ground, and observe from whence my voice comes,” he replied.

There the thieves at length found him, and lifted him up. “Thou little imp, how wilt thou help us?” they said. “A great deal,” said he, “I will creep into the pastor’s room through the iron bars, and will reach out to you whatever you want to have.” “Come then,” they said, “and we will see what thou canst do.” When they got to the pastor’s house, Thumbling crept into the room, but instantly cried out with all his might, “Do you want to have everything that is here?” The thieves were alarmed, and said, “But do speak softly, so as not to waken any one!” Thumbling, however, behaved as if he had not understood this, and cried again, “What do you want? Do you want to have everything that is here?” The cook, who slept in the next room, heard this and sat up in bed, and listened. The thieves, however, had in their fright run some distance away, but at last they took courage, and thought, “The little rascal wants to mock us.” They came back and whispered to him, “Come, be serious, and reach something out to us.”

Then Thumbling again cried as loudly as he could, “I really will give you everything, only put your hands in.” The maid who was listening, heard this quite distinctly, and jumped out of bed and rushed to the door. The thieves took flight, and ran as if the Wild Huntsman were behind them, but as the maid could not see anything, she went to strike a light. When she came to the place with it, Thumbling, unperceived, betook himself to the granary, and the maid, after she had examined every corner and found nothing, lay down in her bed again, and believed that, after all, she had only been dreaming with open eyes and ears.

Thumbling had climbed up among the hay and found a beautiful place to sleep in; there he intended to rest until day, and then go home again to his parents. But he had other things to go through. Truly there is much affliction and misery in this world! When day dawned, the maid arose from her bed to feed the cows. Her first walk was into the barn, where she laid hold of an armful of hay, and precisely that very one in which poor Thumbling was lying asleep. He, however, was sleeping so soundly that he was aware of nothing, and did not awake until he was in the mouth of a cow, who had picked him up with the hay. “Ah, heavens!” cried he, “how have I got into the fulling mill?” but he soon discovered where he was. Then it was necessary to be careful not to let himself go between the teeth and be dismembered, but he was nevertheless forced to slip down into the stomach with the hay.

“In this little room the windows are forgotten,” said he, “and no sun shines in, neither will a candle be brought.” His quarters were especially unpleasing to him, and the worst was, more and more hay was always coming in by the door, and the space grew less and less. Then, at length in his anguish, he cried as loud as he could, “Bring me no more fodder, bring me no more fodder.” The maid was just milking the cow, and when she heard some one speaking, and saw no one, and perceived that it was the same voice that she had heard in the night, she was so terrified that she slipped off her stool, and spilt the milk. She ran in the greatest haste to her master, and said, “Oh, heavens, pastor, the cow has been speaking!” “Thou art mad,” replied the pastor; but he went himself to the byre to see what was there. Hardly, however, had he set his foot inside than Thumbling again cried, “Bring me no more fodder, bring me no more fodder.” Then the pastor himself was alarmed, and thought that an evil spirit had gone into the cow, and ordered he to be killed. She was killed, but the stomach, in which Thumbling was, was thrown on the midden.

Thumbling had great difficulty in working his way; however, he succeeded so far as to get some room, but, just as he was going to thrust his head out, a new misfortune occurred. A hungry wolf ran thither, and swallowed the whole stomach at one gulp. Thumbling did not lose courage. “Perhaps,” thought he, “the wolf will listen to what I have got to say,” and he called to him from out of his stomach, “Dear wolf, I know of a magnificent feast for thee.”

“Where is it to be had?” said the wolf. “In such and such a house; thou must creep into it through the kitchen-sink, and wilt find cakes, and bacon, and sausages, and as much of them as thou canst eat,” and he described to him exactly his father’s house. The wolf did not require to be told this twice, squeezed himself in at night through the sink, and ate to his heart’s content in the larder. When he had eaten his fill, he wanted to go out again, but he had become so big that he could not go out by the same way. Thumbling had reckoned on this, and now began to make a violent noise in the wolf’s body, and raged and screamed as loudly as he could. “Wilt thou be quiet,” said the wolf, “thou wilt waken up the people!” “Eh, what,” replied the little fellow, “thou hast eaten thy fill, and I will make merry likewise,” and began once more to scream with all his strength.

At last his father and mother were aroused by it, and ran to the room and looked in through the opening in the door. When they saw that a wolf was inside, they ran away, and the husband fetched his axe, and the wife the scythe. “Stay behind,” said the man, when they entered the room. “When I have given him a blow, if he is not killed by it, thou must cut him down and hew his body to pieces.” Then Thumbling heard his parents’ voices, and cried, “Dear father, I am here; I am in the wolf’s body.” Said the father, full of joy, “Thank God, our dear child has found us again,” and bade the woman take away her scythe, that Thumbling might not be hurt with it.

After that he raised his arm, and struck the wolf such a blow on his head that he fell down dead, and then they got knives and scissors and cut his body open, and drew the little fellow forth. “Ah,” said the father, “what sorrow we have gone through for thy sake.” “Yes, father, I have gone about the world a great deal. Thank heaven, I breathe fresh air again!” “Where hast thou been, then?” “Ah, father, I have been in a mouse’s hole, in a cow’s stomach, and then in a wolf’s; now I will stay with you.” “And we will not sell thee again, no, not for all the riches in the world,” said his parents, and they embraced and kissed their dear Thumbling. They gave him to eat and to drink, and had some new clothes made for him, for his own had been spoiled on his journey.

Little Red Riding Hood

Little Red Riding Hood Final small hr Little Red Riding Hood

Digital Painting based on The Brothers Grimm’s fairy tale of Little Red Cap, also known as Little Red Riding Hood but with some modern elements and other references incorporated.

Little Red Cap

Jacob and Wilhelm Grimm

Once upon a time there was a sweet little girl. Everyone who saw her liked her, but most of all her grandmother, who did not know what to give the child next. Once she gave her a little cap made of red velvet. Because it suited her so well, and she wanted to wear it all the time, she came to be known as Little Red Cap.

One day her mother said to her, “Come Little Red Cap. Here is a piece of cake and a bottle of wine. Take them to your grandmother. She is sick and weak, and they will do her well. Mind your manners and give her my greetings. Behave yourself on the way, and do not leave the path, or you might fall down and break the glass, and then there will be nothing for your grandmother. And when you enter her parlor, don’t forget to say ‘Good morning,’ and don’t peer into all the corners first.”

“I’ll do everything just right,” said Little Red Cap, shaking her mother’s hand.

The grandmother lived out in the woods, a half hour from the village. When Little Red Cap entered the woods a wolf came up to her. She did not know what a wicked animal he was, and was not afraid of him.

“Good day to you, Little Red Cap.”

“Thank you, wolf.”

“Where are you going so early, Little Red Cap?”

“To grandmother’s.”

“And what are you carrying under your apron?”

“Grandmother is sick and weak, and I am taking her some cake and wine. We baked yesterday, and they should be good for her and give her strength.”

“Little Red Cap, just where does your grandmother live?”

“Her house is good quarter hour from here in the woods, under the three large oak trees. There’s a hedge of hazel bushes there. You must know the place,” said Little Red Cap.

The wolf thought to himself, “Now that sweet young thing is a tasty bite for me. She will taste even better than the old woman. You must be sly, and you can catch them both.”

He walked along a little while with Little Red Cap, then he said, “Little Red Cap, just look at the beautiful flowers that are all around us. Why don’t you go and take a look? And I don’t believe you can hear how beautifully the birds are singing. You are walking along as though you were on your way to school. It is very beautiful in the woods.”

Little Red Cap opened her eyes and when she saw the sunbeams dancing to and fro through the trees and how the ground was covered with beautiful flowers, she thought, “If a take a fresh bouquet to grandmother, she will be very pleased. Anyway, it is still early, and I’ll be home on time.” And she ran off the path into the woods looking for flowers. Each time she picked one she thought that she could see an even more beautiful one a little way off, and she ran after it, going further and further into the woods. But the wolf ran straight to the grandmother’s house and knocked on the door.

“Who’s there?”

“Little Red Cap. I’m bringing you some cake and wine. Open the door.”

“Just press the latch,” called out the grandmother. “I’m too weak to get up.”

The wolf pressed the latch, and the door opened. He stepped inside, went straight to the grandmother’s bed, and ate her up. Then he put on her clothes, put her cap on his head, got into her bed, and pulled the curtains shut.

Little Red Cap had run after the flowers. After she had gathered so many that she could not carry any more, she remembered her grandmother, and then continued on her way to her house. She found, to her surprise, that the door was open. She walked into the parlor, and everything looked so strange that she thought, “Oh, my God, why am I so afraid? I usually like it at grandmother’s.”

She called out, “Good morning!” but received no answer.

Then she went to the bed and pulled back the curtains. Grandmother was lying there with her cap pulled down over her face and looking very strange.

“Oh, grandmother, what big ears you have!”

“All the better to hear you with.”

“Oh, grandmother, what big eyes you have!”

“All the better to see you with.”

“Oh, grandmother, what big hands you have!”

“All the better to grab you with!”

“Oh, grandmother, what a horribly big mouth you have!”

“All the better to eat you with!”

The wolf had scarcely finished speaking when he jumped from the bed with a single leap and ate up poor Little Red Cap. As soon as the wolf had satisfied his desires, he climbed back into bed, fell asleep, and began to snore very loudly.

A huntsman was just passing by. He thought, “The old woman is snoring so loudly. You had better see if something is wrong with her.”

He stepped into the parlor, and when he approached the bed, he saw the wolf lying there. “So here I find you, you old sinner,” he said. “I have been hunting for you a long time.”

He was about to aim his rifle when it occurred to him that the wolf might have eaten the grandmother, and that she still might be rescued. So instead of shooting, he took a pair of scissors and began to cut open the wolf’s belly. After a few cuts he saw the red cap shining through., and after a few more cuts the girl jumped out, crying, “Oh, I was so frightened! It was so dark inside the wolf’s body!”

And then the grandmother came out as well, alive but hardly able to breathe. Then Little Red Cap fetched some large stones. She filled the wolf’s body with them, and when he woke up and tried to run away, the stones were so heavy that he immediately fell down dead.

The three of them were happy. The huntsman skinned the wolf and went home with the pelt. The grandmother ate the cake and drank the wine that Little Red Cap had brought. And Little Red Cap thought, “As long as I live, I will never leave the path and run off into the woods by myself if mother tells me not to.”

They also tell how Little Red Cap was taking some baked things to her grandmother another time, when another wolf spoke to her and wanted her to leave the path. But Little Red Cap took care and went straight to grandmother’s. She told her that she had seen the wolf, and that he had wished her a good day, but had stared at her in a wicked manner. “If we hadn’t been on a public road, he would have eaten me up,” she said.

“Come,” said the grandmother. “Let’s lock the door, so he can’t get in.”

Soon afterward the wolf knocked on the door and called out, “Open up, grandmother. It’s Little Red Cap, and I’m bringing you some baked things.”

They remained silent, and did not open the door. Gray-Head crept around the house several times, and finally jumped onto the roof. He wanted to wait until Little Red Cap went home that evening, then follow her and eat her up in the darkness. But the grandmother saw what he was up to. There was a large stone trough in front of the house.

“Fetch a bucket, Little Red Cap,” she said to the child. “Yesterday I cooked some sausage. Carry the water that I boiled them with to the trough.” Little Red Cap carried water until the large, large trough was clear full. The smell of sausage arose into the wolf’s nose. He sniffed and looked down, stretching his neck so long that he could no longer hold himself, and he began to slide. He slid off the roof, fell into the trough, and drowned. And Little Red Cap returned home happily, and no one harmed her.

Art Book Review: How Pictures work

picture this how pictures work 300x206 <!  :en  >Art Book Review: How Pictures work<!  :  >

Molly Bang; Picture this - How Pictures Work

Picture This – How Pictures work written by Molly Bang was recommended to me during one of the Awesome Horse Studios podcasts. I was a little skeptical when I first saw the book because of the overt simplicity of the illustrations on front and back cover, however as soon as I began reading I was drawn in.

Molly Bang uses the classic fairy tale of Little Red Riding Hood to take us through the very elementary basis of how exactly pictures work. The cover illustration is of Little Red Riding Hood in the woods, wit the big bad wolf lurking in the corner. Notice how clearly the image reads just out of simple forms and few colours. Molly answers questions such as why triangles make us feel stable, or why diagonal lines give a sense of tension, what the effects are of placing an object in the upper or lower corner of an image and so forth, all why proving her point every time with creative, simple but extremely efficient illustrations that are made of simple shapes cut out of colored paper.

She gives us a list of 10 principles of how pictures work along with explanations of why. A few examples of the principles to give you an idea.
1. Smooth, flat, horizontal shapes give us a sense of stability and calm.
2. Vertical shapes are more exciting and more active. Vertical shapes rebel against earth’s gravity. They imply energy and a reaching toward height or the heavens.
3. Diagonal shapes are dynamic because they imply motion or tension

For people in the field of art making this book is a must read. I strongly recommend it. You can purchase it really cheap of Amazon. In the used book section it goes for just around $6. I bet you the knowledge you will pick up from this book, will improve your artwork no matter what style or material you are working in.

Links:
Molly Bang’s Website
Molly Bang on Picture This
Picture This – How Pictures Work on Amazon.com
Awesome Horse Studios

picture this how pictures work 300x206 <!  :en  >Art Book Review: How Pictures work<!  :  >

Molly Bang; Picture this - How Pictures Work

Picture This – How Pictures work written by Molly Bang was recommended to me during one of the Awesome Horse Studios podcasts. I was a little skeptical when I first saw the book because of the overt simplicity of the illustrations on front and back cover, however as soon as I began reading I was drawn in.

Molly Bang uses the classic fairy tale of Little Red Riding Hood to take us through the very elementary basis of how exactly pictures work. The cover illustration is of Little Red Riding Hood in the woods, wit the big bad wolf lurking in the corner. Notice how clearly the image reads just out of simple forms and few colours. Molly answers questions such as why triangles make us feel stable, or why diagonal lines give a sense of tension, what the effects are of placing an object in the upper or lower corner of an image and so forth, all why proving her point every time with creative, simple but extremely efficient illustrations that are made of simple shapes cut out of colored paper.

She gives us a list of 10 principles of how pictures work along with explanations of why. A few examples of the principles to give you an idea.
1. Smooth, flat, horizontal shapes give us a sense of stability and calm.
2. Vertical shapes are more exciting and more active. Vertical shapes rebel against earth’s gravity. They imply energy and a reaching toward height or the heavens.
3. Diagonal shapes are dynamic because they imply motion or tension

For people in the field of art making this book is a must read. I strongly recommend it. You can purchase it really cheap of Amazon. In the used book section it goes for just around $6. I bet you the knowledge you will pick up from this book, will improve your artwork no matter what style or material you are working in.

Links:
Molly Bang’s Website
Molly Bang on Picture This
Picture This – How Pictures Work on Amazon.com
Awesome Horse Studios

picture this how pictures work 300x206 <!  :en  >Art Book Review: How Pictures work<!  :  >

Molly Bang's Picture this - How Pictures Work

picture this how pictures work 300x206 <!  :en  >Art Book Review: How Pictures work<!  :  >

Molly Bang's Picture this - How Pictures Work