Van Gogh Exhibit: The Immersive Experience

We had a wonderful time at the Van Gogh Exhibit: The Immersive Experience. This is a new digital way to experience information about the artist. The VR experience was a novelty something I haven’t done before that is experienced in a separate gallery from the digital projections. The virtual reality experience will take visitors on a 10-minute journey on “a day in the life of the artist,” allowing them to see the inspiration behind some of van Gogh’s most famous works of art. Other studios and galleries, including a drawing studio, will give visitors an even more in-depth look at the artist. One thing I would suggest to learning about Van Gogh is his signature Impasto. This is a technique used in painting, where paint is laid on an area of the surface thickly, usually thick enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas. When dry, impasto provides texture; the paint appears to be coming out of the canvas.

#vangoghimmersivexperience #vangoghimmersion #vangoghimmersive
 #vangoghimmersiveexhibit #vangogh #vincentvangogh #art

There are a large number of visual effects that an artist using the technique may be striving to achieve, but the most important ones are the added bulk and the play of light and shade. The brush-strokes may be straight, rounded or cross-hatched. Some artists only used this approach for certain elements of their works, with the aim of emphasizing them and bringing them to the fore, while others covered the whole canvas with an uneven ripple effect.

The impasto technique is usually associated with the work of Vincent Van Gogh. It is said that he applied the paints directly onto the canvas and simply mixed them together with his own fingers. One of the examples of the impasto technique in his oeuvre is the painting The Starry Night. Here, in order to make the stars in the night sky appear as bright as possible, he strove to apply paint with an extremely thick consistency, using bold brush-strokes, thereby highlighting the lights.

Vincent van Gogh "The Starry Night"
Vincent van Gogh “The Starry Night”

In order for the brush-strokes to appear even thicker and more expressive, artists did not shy away from using thickening agents on occasion. This would lend the painting an incredible texture. One of the substances widely used for this purpose, for instance, was wax. With each brush-stroke, the touches of the palette knife or spatula were imprinted on the painting. Works featuring this technique were produced by artists from a wide range of movements and eras: the Renaissance, the Baroque period, Impressionism, Expressionism, Post-Impressionism. Interestingly, the Impressionists applied paste from tubes directly onto the canvas, creating the outlines required with a brush once the paint was in situ. In the era of Impressionism and Expressionism, this technique made it possible to obtain a wonderful mirror-image of a crumpled or broken surface, to pick out areas of light amid the darkness, and to emphasize a space. It was the perfect way to convey feelings, concerns and emotions for the paintings of the Expressionists, for them to express their egos on canvas, and to show what is accessible only to those who see, not to those who merely look.

There are a whole range of methods and rules for applying paints to bases:

  • With the help of a brush, a palette knife, a tube or using additional additives;
  • The thick layer should be allowed to dry in conditions whereby the process can take place as slowly as possible. This approach protects the layer of pigment from cracking up and prevents wrinkles from appearing;
  • If the ingredients are too fatty, this will definitely make it more difficult to create textures and expressive brush-strokes;
  • Flat brushes or small brushes made of artificial horsehair will be ideal for this technique;
  • If you add sawdust, sand or very fine grit to the pigment, this will lend a unique aspect to the texture and allow you to really liven up your work, and above all – to increase the volume of each brush-stroke;

Some artists cover their completed paintings with a special glaze. Its thin film provides excellent protection that will prevent cracks and wrinkles appearing in the pigment and prevent it from peeling.

source: SUNY Purchase, Pearl Paint, Old Holland 1664, Van Gogh Albany, NY Exhibit: The Immersive Experience #vangoghimmersivexperience #vangoghimmersion #vangoghimmersive #vangoghimmersiveexhibit #vangogh #vincentvangogh #art #impasto

Celtic Art Book of Kells

Here’s a short intro to celtic art through The Book of Kells at Trinity College conservation research

Susie Bioletti, Head of Conservation at Trinity

Celtic Clip Art

Check out my digital download section for celtic vector design for download

Nancy Tranter Visual Artist ancient celtic circle lakenheath vector art digital downloads
Nancy Tranter Visual Artist ancient celtic circle lakenheath vector art digital downloads
Nancy Tranter Visual Artist ancient celtic circle lakenheath vector art digital downloads

Vector Design Ancient Celtic Circle Motif by Nancy Tranter

Vector Design file Ancient Celtic Circle Motif (Digital File) Contains everything you need to start creating beautiful Kells illumination designs. Perfect for logos, posters, print advertisements and on the web. 

The Borders and frames have a unique design, and can easily be adapted to fit any circular shape. All designs are 100% vector and have editable strokes which allow you to change the weight/thickness of the lines. 

FEATURES: contains 13 file format designs 
PNG transparent
SVG black & transparent

– High Resolution 800 dpi scalable vector format 
– 350 DPI for photographs
– AI format Adobe Illustrator required for editing or compatible software that would accept an AI file

copywrite law: You are not allowed to claim this file as your own or resell the files. Partly based on: Irelands ancient providence themes, and educational techniques in {Celtic Design Book by Aiden Meehan ISBN 978-500-28674-6}, celtic art teachers at St. Philip Neri NY. USA

Can be used for Commercial reasons .The licensed asset can appear in up to 5,000 end products for sale :

-Up to 5,000 physical or digital end products for sale
-One business social media account owned and managed by the licensee
-Unlimited physical advertisements for local markets
-Digital paid advertisements with unlimited impressions
-Broadcast and streaming for up to 500,000 lifetime viewers
Cannot be used for:
-Native apps, web apps, or games

Glucam for a fixative: Painting, Chemistry, and Perfumes

I promised a few of you that I would put up my formula for perfume (12ml) to create a cypher. finished weight approx. 1oz (29.6 ml) using Glucam for a fixative

(top) 3.6ml 30% total top 
0.25ml Glucam p-20
2.6ml Rose de Mai
.5ml Manderine
.25ml Black Tea
.25ml Black Pepper

Description of Scent: NancyPantz rose, brightness, softness, leaf and sweet woods, 

Glucam for a fixative: Painting, Chemistry, and Perfumes for Women

Glucam™ P-20 humectant is a naturally-derived, 100% active, propoxylated methyl glucose ether. It is one of the few naturally-derived cosmetic fluids that are miscible with water, alcohols, organic esters, and oils. In any product, it delivers humectancy with a lubricious, emollient feel. In alcohol-based systems, Glucam P-20 humectant reduces the stinging effect alcohol has on the skin. Equally important is fragrance-containing formulations, it acts as a fixative by subduing volatilization of the “high notes”. The light color and low odor of Glucam P-20 humectant will not interfere with the mood the fragrance is trying to communicate. It is recommended for use in hair care and skincare products.

(heart) 3ml 25% total modifier 
2ml Rose Damask
.125ml Damascone Beta
.125ml rose oxide
.25ml tuberrose
.125ml Peonile (G)
.25ml jasmine
.20ml ylang ylang

(base) 5.4ml 45% 
4.25ml white musk
0.25ml gaiacwood
0.125ml Opopanax-Sweet Myrrh Kenya resin
0.125ml Iso E Super (I)
0.25ml patchouli
.25ml sandalwood

Glucam for a fixative: Painting, Chemistry, and Perfumes for Women

I was creating a sizing for a canvas to be used to make a painting and decided it should smell good as well. I then quickly realized the beauty of the similarity between perfumes and painting joined by chemistry.  

a few perfume notes: Glucam P-20 Fixative (2-5% of your fragrance formula concentrate) for the top mid notes

Marie Curie Marie Sklodowska Curie es. esGram
Marie Curie Marie Sklodowska Curie es. esGram

Juice new undiluted mix sit an at least a few days in order to get an idea of what the scent will really be. After diluting, you need to let it sit for 4-6 weeks. Otherwise, all you will smell is alcohol if you’re using that as the carrier agent. measure this all out in ml everything by volume and refer to math formula, perfume oil 8 parts (29%) of the remaining 70%, alcohol 19 parts (95%) water 1 part (5%) This percentage is extremely important: it is, for the major part, responsible for the tenacity of the perfume. A perfume containing 20% of bases, 30% of modifiers, and 50% of top notes will lack tenacity since the percentage of bases would be relatively too low as compared with that of the more volatile modifiers and top notes. Therefore, the proportions are selected so as to obtain a balanced evolution during evaporation.

sources: The Artist’s Handbook of Materials and Techniques by Ralph Mayer,, two thousand formulas, recipes and Trade secrets by harry bennet F.A.I.C. #perfume #canvassizing #essentialoils #fragranceoils #nancytranterperfume

How to Get Ahead in Interior Design with Restoration: Moe Bridges Art Deco Chandelier

Sometimes an Art Deco Chandelier only needs a light cleaning to remove superficial dirt leaving the original lacquered finish intact.

Interior Design with Restoration Nancy Tranter with a  Moe Bridges Art Deco Chandelier
antique restoration Nancy Tranter MB polychrome chandelier

The Moe Bridges Chandelier arrived from the flea market with the bobeshes and beaded crystal trim missing. The wiring was from 1910 and the finish was irregular. I acquired the Art Deco Chandelier from a demolition expert working on a house in Sterling, Illinois. If you can find yourself a demolition expert in the midwest the restoration becomes affordable and worth it.

The whole project cost me 38$ not including paint and wiring. The Restoration of the polychrome arms was going to be tricky. I used a mild ketchup solution (that’s right ketchup!) which is great for cleaning paint. I left the ketchup on overnight and gently washed it away with warm water in the morning the brass and chrome were shining. Don’t use chemicals for cleaning paint you run the risk of removing it. The girls had a blast squeezing ketchup everywhere. The photographs speak for themselves.

I first started repainting the molded iron body. Matching the original color was not as hard as I thought in 1910 there were fewer enamel choices and the company Moe Bridges recorded the colors and they are readily available in many places. Next came the verdigris removal. I used a soft tip dremmel and took my time there was a minimaI amount of lost metal. Then I rewired using porcelain fittings and 16AWG UL wire with copper grounding.

Interior Design with Restoration art nouveau chandelier moe bridges

Art Deco Chandelier Lighting can make or break your kitchen interior scheme make sure you take the time out to design for ambient, task, mood, accent, and decorative.

I’m about to install dimmer switches their inexpensive and can give me a wide range of ambient overhead chandelier options. This bolsters my light from the 2′ x 4′ skylight I have. Next is ‘Task’ lighting to ensure safe food prep’ built-in light is under the cabinets. I have an open-concept kitchen. Using ‘Mood’ lighting is a great way to solve the problem. Battery-timed wall sconce candle is a great choice for mood lighting. Avoid fabric-covered lighting ideas as these absorb grease and smells and keep lamps off counters to free up work zones.

art nouveau chandelier moe bridges

sources: ebay, essortment’s channel, grandbrass.comcolin and justinpricedownmall

Collage with Ideasthesia, Surrealist Automatism and Empathy

A playful combination of empathy and surrealist automatism paintings

collage #4 All images © 2006-2007 Nancy Tranter
collage #4
mixed media on masonite 8″x12″
All images © 2006-2007 Nancy Tranter

Empathy pervades both art-making and the experience of looking at art. Collage is a medium that offers a quick response for the technique of automatism.

Artists can increase empathy in others through their work, eliciting that feeling from people who may be numb from all the terrible things going on in the world, making the viewer more sensitive and vulnerable.

The Center for Building a Culture of Empathy describes empathy in four stages: self-empathy, or mindfulness of what’s going on inside oneself; mirrored empathy, meaning taking on another person’s emotion; imaginative empathy, which involves putting yourself in another person’s shoes; and empathic action, i.e., contributing to the well being of others. All of these aspects can play a role in art-making.

“Artists try to make a gift of what they have felt, What they have felt is the aggregate of what they have seen, and so it includes their own imaginings of what others have thought and felt.”

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In the 1800s, philosophers of aesthetics wondered why art pleased people, and they came up with the idea that art activates viewers’ memories and emotions. The concept of ideasthesia used by artists also raises a question: Can we use ideasthesia to formulate a theory of art? The relationship between the two opposing forces of ideasthesia, i.e., the concept and the sensation, can be used to formulate a hypothesis about psychological events that underlie the process of either creating an art piece or appreciating (i.e., consuming) it[1]. So, empathy was the mysterious element that connected art and the viewer. In 1873, German aesthetics student Robert Vischer described this projection of emotion as einfühlung, “feeling into,” and, in 1909, British psychologist Edward Titchener translated the word into English as “empathy.” John Dewey’s notion of imagination being indispensable to all learning can be seen to be a “pathway” to empathy. Freud argued that psychoanalysts should embrace empathy to understand their patients.

Surrealist Automatism is a method of art-making in which the artist suppresses conscious control over the making process, allowing the unconscious mind to have great sway. Early 20th-century Dadaists, made some use of this method through chance operations. 

“Artists, as a whole, are more empathic than non-artists. They’re more sensitive. They tend to have more fluid, permeable personal boundaries that allow them to connect to people in meaningful, emotional ways. That connection provides fuel for the creative process.”

Joe Behen, PhD, at SAIC

collage #5 All images © 2006-2007 Nancy Tranter
collage #5
mixed media on masonite 12″x18″
All images © 2006-2007 Nancy Tranter
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Collage #6
mixed media
on canvas 28" x 56"
nancy tranter
Collage #6
mixed media
on canvas 28″ x 56″
All images © 2006-2007 Nancy Tranter
nancy tranter

source: Janson’s History of Art, Robert Vischer, Walter Osika, Joe Behen, Jesse Ball, John Dewey, 1Danko Nikolić

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