Developing a Rapport 

    with Art Practice

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"Rapport" is our routinised or connective allignment , with mutual appreciation. 

Hello art, I love you. 
No. (Hello art, you make me happy. I will be back. And yeah, just one more thing - as though you got stuck to the strings of the guitar ).

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This is attachment, of an emotional "kind" ( Elasticity )

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Art Practice lends itself to a much larger relationship, and its a really diversified construct to appreciation as to how it confides to define Artist-in-perspective and also viewpoints in self understanding in Relationship.

Every artist is different, therefore -

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Art making recognises & fosters Conceived relationships to :

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- Creative Output ( I make )

- I speak with Literacy & I respond to natural gravitation - with Literacy.  One Artist comes with an awareness, a developed connection to art-eutero & art-centric focuses. 

- I socialise in visual communication & I consume & process mechanism to life-integrated visual culture. 

- I cycle to understand myself & others. 

- At life's core-focus to living, I enjoy it. 

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Pigments & Ethereal Substance

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The Creative Artist – Materiality, aesthetics & visual culture

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Pigments are “coloured powders” that are manufactured and come under three main types, based on sourcing & also transformation. 

For the Soft Pastellist that may love to create their own pastels, or the Oil Painter, working with bottle & tins, may work more economically through binding their own paints in liquid form. Pigments exist as ‘ready to buy’ pots and are great alternatives to the paint-tube buy (although convenient & preference to many) – the coloured powder allows us to explore & also consider wider – birth across Origins. 

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Below are a Cross-section of Earthy Connections ( Red-browns ) with also some inviting historical lineage to the Resonance of Red Brown, Orange-Brown & Earthy Currents. The brown-primary foundation that is wash-based often begins as an image and built on with introductory tonal hues to surface 3d modelling over time.  For some this is a Vandyke brown, an umber-grey green or more redder-in appearance appreciation. 

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1. Terra Rossa
Location: Italy  

Terra-Rossa is a slightly deeper-darker brown than the fiery red of Burnt Sienna. Terra-Rossa means “red soil” of the Mediterranean [ or ‘red earth’ ].

2. Sanguine
Location: Italy   

Leonardo da Vinci, amongst others have documented account imagery ( Science-based anatomical dialogues in book form ) that examine the Body in length as learning documentation based on Education & predecessors. The penciled form of the ‘Sanguine’ is a rich, yellow-orange to red brilliance with mid-tonality. It is quite soft in appearance and with white highlights is often still used in Italian Academies of Traditional Painting and used for rendering on medium, tonal papers ( studies of the human form ).

3. Burnt Umber
Location: Italy     

Name meaning ‘terra d ’ombra’. Heated Raw Umber becomes Burnt Umber. It is derived from Umbria, a mountain region in Italy. The term ombra ( meaning “shadow” ) is connected to the tonal-aspect of what is a deeper, duller brown.

4. Burnt Sienna
Location: Italy   

Burnt Sienna is the fired exponent of Raw Sienna ( It moves from an ochre (yellow brown) to a Red-brown oxide appearance similar to Brick-dust or Aged Rust. ( Siena is the Italian township in Tuscany ) 
Other terms related to Sienna as a pigment are those that closely follow as: Terra gialla ( yellow earth ) and Terra Rossa ( red earth ).

5. Venetian Brown
Location: Italy   

Also called ‘sinopia’. Associations include: Red coats (18th/19th Century British camp, Khaki replaced venetian red pigmentation in 1890.

4. Caput Mortum
Location: Rome   

Also known as ‘Cardinal purple’. In latin it is known as ‘dead head’, often called mummy-brown, nigredo. It has Gothic associations.

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To read more of Erin's articles on the Good Vibrations blog visit the Naturally Exuberant page.