How To Apply Paint to RPG Figures: Tutorial: Effective Approaches to Painting Figures For Role Playing

Figure Painting

Figure Painting for Role Playing Figures First Steps

Once a figure is prepared, the colour scheme planned out and the priming is completed, it’s time to paint.

Every figure is unique and each artist brings a different approach to creating the look they want. Some basics apply to most figures, and practicing these techniques on figures such as giants and monsters that are larger than the 25mm human sized figures is a good place to begin.

The First Coat Is The Deepest

The best way to start a figure painting job is to begin by painting the lightest colours first, particularly if the lightest colours are situated in areas that are difficult to access. The reason for this is simple. If light colour accidentally strays onto an area that will eventually be painted with a darker colour, it won’t be hard to cover, but if the first colour applied was the darkest and that colour strayed onto an area to be painted white or yellow later, it would take many more coats to cover the mistake.

As pointed out in the Part 2 of this series, it is important to try to place contrasting colours next to each other to allow the various features of the miniature to seen properly in the finished product. By starting with light colours and working towards darker tones, the artist will have the chance to give each section the detailed attention that will make it a piece to be proud of.

Details, Details

Unless they are in particularly inaccessible areas, the smallest details are usually best left until last. A “helping hands” articulated hobby clamp is handy for this kind of work, keeping the figure held steadier than the human hand is able to. A magnifier may also be a good idea, although working under one takes a good deal of practice.

One good reason to leave smaller features until the end is that they are the easiest to accidentally obscure while trying to perfect the larger portions of the figure. Generally, belts, jewelry and other fine details are easiest to approach with a fine brush once the bulk of the figure is complete. These smaller items usually require less drybrushed (See Part 4 of this series) detail than larger areas, meaning that there is also less chance of accidentally applying the detail colour where it isn’t wanted.

The Eyes Have It

Most human or humanoid figures have been molded with eyes that should be painted. This is often the most daunting detail on the figure, since it is the one place that a mistake will almost always be glaringly obvious.

There two basic ways to approach painting the eyes on a 25mm figure, but like most things in the miniature painting process, they take a great deal of practice:

  1. Paint the white of the eye first and then apply a dot of colour for the eyeball. This is the simplest technique but it is a challenge to get both eyeballs the same size and pointed precisely in the correct direction.
  2. Paint the center of the eye the colour of the eyeball and then use a fine brush to add the whites of the eye on either side. This method has the advantage of making it a great deal easier to “focus” the eyes properly.

Whichever way the artist decides to approach painting the eyes, it is best to use black or dark blue for the eyeball colour. Any other shade, such as green, rarely looks realistic. Of course, on a non-human figure there is no reason to limit the choice of eye colour.

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Painter William Utermohlen: Artist’s Final Works Chronicled The Effects of Alzheimer’s Disease

William Utermohlen

William Utermohlen was Born in 1933 on the south side of Philadelphia, trained at the Pennsylvania Academy of Fine Arts, graduating in 1957. The GI Bill allowed him to study further in Europe, and throughout his travels to France, Italy and Spain, he was notably influenced by classical painters Giotto and Diego Velazquez.

William Utermohlen then enrolled at London’s Ruskin Academy, and he would ultimately make London his home base following his 1962 marriage to art historian Patricia Utermohlen. His diverse work throughout the next decades would reflect a range of influences such as London street life, Dante Alighieri‘s Inferno, the Vietnam War and a fascinating series of paintings based on the Mummers of Philadelphia. The Mummers are a minstrel-type group dating back centuries. The colorful, carnival-like antics of their Philadelphia chapter’s annual New Year’s Day Broad Street parade are legendary — especially as captured by Utermohlen.

The Alzheimer Portraits

In 1995, Utermohlen learned that he was suffering from Alzheimer’s Disease — a devastating diagnosis for anyone, particularly a visual artist. Utermohlen, however, took it upon himself to keep working and began a series of self-portraits that would reflect the effects of Alzheimer’s on his abilities. Because Alzheimer’s is known for diminishing the power of the brain’s right parietal lobe, an area that controls visualization and perspective, Utermohlen’s art shows a drift from his prior expert use of line and detail. His strong love of color remained, however, and even with the Alzheimer’s — or perhaps because of it — often floated off into the realm of beautiful abstractions. In other works, there was a sense of understandable fear and anger toward his fate.

Utermohlen’s willingness to chronicle the changes Alzheimer’s would have upon his work not only show a sense of great artistic bravery, but are also helping researchers to track the neurological and physical effects of the disease. Throughout the course of creating his Alzheimer portraits, Utermohlen’s wife Patricia reports that her husband was clearly aware of frustrating developments and degenerative changes, but was willing to keep going nonetheless.

Legacy

A traveling exhibit of Utermohlen’s pre and post-Alzheimer-influenced works, Portraits From the Mind: The Works of William Utermohlen – 1955 to 2000, has allowed viewers to connect directly and visually with Alzheimer’s, expanding public awareness of the disease and the search for a cure. The exhibit has brought an ironic fame to a generally overlooked yet talented painter, and Patricia Utermohlen hopes that her the brilliance of her husband’s earlier art will not be completely overshadowed by his later illness.

William Utermohlen died of Alzheimer’s Disease in 2007.

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Still Life Painting

Cezanne's

Still life painting is a genre that has timeless appeal. Though subjects may range from a slab of meat to Vincent Van Gogh’s old shoes and Cezanne’s fruit paintings, most people think of still life paintings in terms of fruit bowls and flowers. Highly decorative and very adaptable to different environments, still life paintings may be the easiest of all great art to live with.

Cezanne’s still life paintings of fruit are an excellent example, combining as they do a traditional, representational subject with a glowing, luminous palette and vigorous brush and knife work. Cezanne’s Still Life with Oranges looks as much at one with its environment in a glass and steel loft as it does in a dark-paneled study. The power and energy of this painting almost belies the phrase “still life.”

Redon’s flower paintings are also gems of this genre. Though more frankly decorative, they still offer mystery and vitality through gorgeous juxtaposition of colors. In his Anemones and Lilacs in a Blue Vase, for instance, the flowers seem to shimmer in mid-air, the vase fading insubstantially into shadow and the table barely hinted at.

A Wide Range of Styles in Still Life Paintings

Traditionalists might find the still life they love in the works of Henri Fatin-Latour, with their muted colors and meticulous attention to detail. Braque’s cubist Still Life: Le Jour, with its sharp angles and acid greens, will suit a more abstract sensibility, while still remaining eminently livable. Within the broad confines of the still life genre, there is an image to suit every taste.

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Distressed Painting Technique – 10 Tips For You

We at Paintings studio more than happy to provide you 10 distressed painting technique tips. We hope you will enjoy!

Distressed Painting Technique
Distressed Painting Technique

Creating a distressed or aged look is a great way to add character or elegance to tired doors or furniture. You could just wait. You furniture will be distressed eventually, but if you don’t have 30 years or more there are a quite a few ways to go about creating a distressed look for your furniture. You could hire someone. There are painters who specialize in creating faux finishes. Hiring a professional to age your furniture can get expensive, so you might as well just do it yourself. Here are a few distressed painting technique tips to make creating a faux distressed look simple:

  1. Make sure you sand the piece of furniture. Just because you’re applying a faux finish doesn’t mean you can skip steps. You will probably be able to skip applying primer, but you must be sure to sand the piece well.
  2. There are a lot of different ways to create a faux distressed look. You can use a glaze, painter’s wax, a crackle glaze, and many other techniques. Decide exactly what kind of look you’re going for.
  3. Before you paint, hit your local Sherwin Williams store. They have paints that create the faux finish you’re looking for without a lot of hassle. Some stores have videos you can borrow that will walk you through the process. Almost every Sherwin Williams store has books you can look at and associates that can demonstrate various techniques for you. They’re a great help when painting just about anything.
  4. If you’re using a glaze to create a distressed look, use paint with a satin finish as your base coat. This will help the glaze go on smoothly. A flat paint will create a blotchy look.
  5. The simplest way to create a faux aged look is to use sandpaper. Naturally, the areas of a piece of furniture exposed to sun will have a lighter shade. You can create this look by sanding the paint a bit. You can also paint a different color underneath the top coat and sand the top coat to let the contrasting color underneath show through.
  6. Before you try your faux painting technique to your entire piece, try it on a small section first. This way you can see it before you waste the time and money to do the entire piece and make changes if you need to.
  7. Using wallpaper paste, latex paint, gum Arabic, acrylic paint, a toothbrush and a hair dryer you can create a beautiful antique door. After you sand the door, apply a base coat of light colored water based paint. Let that dry over night. Apply a good coat of wallpaper paste and gum Arabic, letting this dry too. Once that coat is dry, apply a coat of off white latex paint, drying this coat with a hair dryer turned to high. It will crack. Next, apply an acrylic paint in some lighter shade of brown, depending on the look you want. Use an old toothbrush to lightly splatter a slightly darker color if you want.
  8. If you’re going to use a sanding technique, make sure you sand the areas that are usually thinned naturally. Sand the high points and corners more than other areas and you will create a naturally aged look.
  9. Add a darker antiquing glaze to a mixture of clear oil glaze and mineral spirits to create a simple, natural look. Apply more to the recessed sections. Wipe some of the glaze off the high points. This will darken the paint already on the piece, simulating the look of dirt and age.
  10. Apply alternating layers of different 3 different colors of paint and tinted painter’s wax. Start with a layer of paint, then wax, another color of paint, wax, and a last color of paint. Once the last color of paint has dried, apply crackle paint. Once the crackle paint has dried you should sand areas to create an aged look. Once you’re done sanding, apply a last coat of painter’s wax to seal the piece.

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Famous Paintings

famous paintings

Well-Known Paintings

A certain number of famous paintings are recognized by almost everyone, even people who have had no formal exposure to art. Think of the Mona Lisa, for example. That face with the mysterious smile appears on coffee mugs, t-shirts and cocktail napkins. Nat King Cole sang of her, and New Yorker cartoonists riff on her. This portrait, and other famous paintings such as Van Gogh’s Starry Night or Monet’s Waterlilies, are universally known and loved.

That may not make them the best choice when you’re purchasing artwork for yourself. Before you decide on a piece of art that you’ve seen enough to feel familiar and comfortable with, browse through the online galleries to look at less well known works. You might even find an original painting that speaks to you, and which you won’t see everywhere you go.

Look Beyond Famous Paintings

When people buy artwork for their homes and offices, they tend to choose from the same handful of paintings all the time. One reason for this is that these famous paintings are always available, and it takes little effort to find them. Another may be that the buyer is insecure about his or her taste. Everyone knows that Waterlilies is a great painting, so it’s a safer choice than the one you may like better but which is unknown.

Buy What You Love

It’s my belief that you should buy what you love. You live with it, you look at it every day, and it should please you every time you see it. The problem, of course, is that when you fall in love with an obscure painting, it may be hard to find a reproduction. Fortunately, internet shopping makes it much more likely that you’ll be able to find exactly what you want.

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Phlebotomy Blood Drawing Techniques for Female Muslim Patients

phlebotomy

The primary task of phlebotomy is to ensure the health, safety and welfare of the individual from which he or she is to collect a specimen. An essential part of this process is to be aware of and sensitive to the concept that, although it is vital to collect a valid specimen, cultural differences need to be respected and accommodated. A phlebotomist’s review of the cultural norms of Muslim women is well worth the effort in order to ensure proper specimen collection.

A Growing Population of Muslims in America

Any phlebotomist working to implement a larger practice of Phlebotomy in a wide metropolitan area will most likely be repeatedly presented with patients who are of a culture different from their own. For example, in 1988 according to the book entitled Culture Care Diversity and Universality (Leininger, M.M. & McFarland,M.R., 2006), Arabs were the fastest growing minority population in Michigan and the third largest minority group overall in the U.S. Ninety-two percent of Arabs in the world consider themselves Muslim and as of 1999, it was estimated that the Arab population in the metropolitan Detroit area alone was over 250,000. With minority populations such as these, providers of healthcare need to train their employees in cultural diversity and have proper procedures in place to provide quality patient care to all.

Potential Barriers to using Phlebotomy and Achieve Successful Blood Draw

There are several areas where it is possible to see differences between Muslim culture and the general culture that is found in the U.S. Perhaps the most obvious difference is the possibility of a language barrier between Muslim patients and healthcare providers. Female Muslims in particular prefer to have same-sex interpreters. These same-sex interpreters should also be sworn to confidentiality with regard to any communication between the patient and healthcare provider that they may help to assist. Whether or not a translator is necessary, Phlebotomy practitioners should be encouraged to inquire of the patient culturally focused questions to determine how best to maintain their religious and/or cultural practices in order to avoid refusal of treatment (Leininger & McFarland, 2006).

There can be challenges in even attempting to initiate conversations between the Muslim patient and phlebotomist. An article entitled, Muslim Women and the Veil on the Islam Watch website (Asghar, M., 2008, para. 2), notes that Muslim women are to keep their gaze lowered in order to “guard their modesty.” Once again, healthcare providers need to be properly trained and follow effective procedures in order to facilitate the best possible communication between patient and provider which is so vital in a healthcare setting. In this type of situation, understanding that eye contact with Muslim women should be avoided will go a long way to avoid the possibility of offending a female patient, and perhaps offending her husband as well.

Healthcare providers who are sensitive to the needs of a Muslim woman may make the difference between her receiving the medical care she requires or having her refuse medical treatment which may be vital to her health. In order to accomplish this, all healthcare providers, phlebotomists included, need to be aware that modesty is of the utmost importance to Muslim females. Muslim women, along with their husbands, prefer that Muslim females are treated by members of their own sex and may refuse treatment if the only option if to receive any type of treatment from a male employee. The author of “American Health Care Professionals Should Respect the Traditions of Other Cultures” in Western Journal of Medicine (Galanti, 2000) recounts a story where prior to a surgery, a Muslim man refused to allow laboratory technicians to draw blood from his wife’s arm. The husband only allowed the procedure to be performed after he completely covered his wife’s body, with only an area of her arm exposed to allow for the collection of her blood.

Across cultures, there are nonverbal cues that should be respected by healthcare providers as well. In Muslim cultures, non-Muslims are to avoid shaking hands with a Muslim of the opposite sex. A handshake should only occur if first initiated by the Muslim. In order to avoid an occurrence of improper handshaking, a Muslim may either put both their hands behind their back or put their right hand over their heart in order to avoid skin contact. In addition, healthcare providers should take precautions to ensure they announce themselves before entering the room of a female Muslim in order for her to properly cover herself (Leininger & McFarland, 2006).

Achieving the Goal of Quality Patient Care

The duty of phlebotomists and all other healthcare workers is to provide the utmost in care in order for their patients to be safe and well. Those in the medical field need to understand that in order to assist in the effective treatment of human beings there are requirements beyond simply focusing on the functions of the body they are seeking to treat.

When healthcare workers possess attributes such as kindness, compassion and a willingness to embrace the differences of other cultures, they can have a tremendous impact upon whether a person recovers and becomes well again or continues to struggle with illness or disease. It should be the primary mission of every phlebotomist to do whatever is necessary to assist in the recovery and wellness of their patients

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SketchUp Makes 3D Drawing and Modelling Easy For Beginners

SketchUp

Google Sketch-Up is a free 3D drawing program for creating polygon models quickly and easily. While lacking the sophisticated toolset and advanced features of the 3D software used by professional modelers and animators in both the gaming and film industries, such as those found in Autodesk Maya or Cinema 4D, SketchUp has a comparatively simple learning curve.

Google are masters of interface design, and Sketchup benefits from its uncluttered, easy to navigate layout. Unlike more complex 3D software, the Sketchup interface makes all of the programs intuitive modeling tools instantly accessible. Sketchup is comprehensively documented, and is further supported by an active and enthusiastic community and a variety of Google Sketch-Up tutorial videos.

Download Google Sketchup Free or Buy Sketchup Pro

Available for both the Mac and Windows, Google Sketch-Up comes in 2 editions. Sketchup itself is free, and can be downloaded from the Google Sketch-Up website. The free version of the software has certain limitations that are unlocked in the professional version of the program, Sketchup Pro, which retails for $495. The Pro version includes the following features not available in the free version of Google Sketch-Up:

  • Extended export capabilities, including saving out to the OBJ, FBX, 3DS and XSI formats.
  • Inclusion of LayOut, the 2D documentation design tool.
  • The ability to add attribute data to 3D models using Dynamic Components.
  • Use Solid Tools for additive and subtractive modeling.
  • Create 2D drawings and sketches from 3D geometry using Style Builder.

However, the 3D modeler using the personal edition of Sketchup for free can still make 3D models, export them to 3D formats such as KMZ and DAE and create limited scene-based animations. Free users can also upload their creations to the Google 3D warehouse to share with other Sketchup users, and make 3D buildings to upload to Google Earth.

Easy 3D Modeling in Free Sketchup Software

Making 3D models in Sketchup is a quick, intuitive process, that can be thought of as 3D drawing. Geometry in Sketchup is sketched out in 2D by drawing straight lines that, when linked together, form flat planes, such as triangles, squares and rectangles.

These 2D planes are then extruded into 3D using the Sketchup Push/Pull tool. This tool adds the third dimension to the sketch, creating 3D depth. This tool can also be used to cut holes through existing geometry. More complex extrusions can be achieved using the Follow-Me tool, which creates sweeps and lathes from 2D faces along a predetermined path sketched out by the 3D modeler.

The Paint Bucket tool, common to most 2D drawing applications, is used in Sketchup to add color to the flat faces of 3D models, or to add imported materials and textures to geometry. Textured 3D models can also benefit from the extra realism provided by the softwares Shadows Engine, which provides realistic real-time shadow effects to objects created in Sketchup.

Google Sketch-Up is Superior 3D Drawing Software

While the free version of Google Sketch-Up would be considered feature-light by most professional 3D digital artists, its simplicity is its strength. Learning all of the capabilities of market-leading 3D software creation tools such as Autodesk Maya, or the more advanced free 3D programs such as Blender or 3D DAZ Studio, can take weeks, months, or even years. In contrast, Sketchup enables a newcomer to 3D to be modeling effectively within minutes of downloading and installing the program.

The ease of use of the Sketchup modeling toolset can even be useful to the more experienced 3D artist, as rapid prototyping in this program is remarkably quick, with 3D geometry extruded from 2D sketches all but jumping off the screen. With the additional functionality offered by Google Sketch-Up Pro, it is little wonder that both the free and commercial versions of this superior 3D drawing software are so vastly popular, with millions of users worldwide.

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The psy-link between painting and photography

Today we are going to learn about The psy-link between painting and photography. When you think of American photographers who have made a difference, the names of Ansel
Adams
or Robert Mapplethorpe may come to mind. But the first American to spur change by
tripping a shutter was Alfred Stieglitz, who also ran a painting gallery. He was the first to define
photography as a fine art. Stieglitz mentored Adams. He gave him the idea of making photography
the “equivalent” of painting. And Robert Mapplethorpe, whose lens art is celebrated for its poetry,
began his career as a student of painting.

The psy-link between painting and photography
“Projeto mural” – photograph by Ansel Adams

And just as photography learned its art lessons from painting, the reverse ultimately took place with
the advent of photo-real painting, also known as super-realism. The photo-realist movement in
painting also showed up in sculpture and Tampa Museum offers examples from the Martin Z.
Margulies Collection, as well as its own example in paint: Ralph Goings’ “Collin’s Diner.”

Collin’s Diner outside view
Collin’s Diner outside view

If you think super-realist painting is just naturalism in cinematic Technicolor, you should see
“Collins Diner.” His is not the stuff of representational imagery. It’s about what a camera sees.
Paintings in this case take on the look of good quality color slides, often made section by section
and sometimes upside down, the aim being the look of reproductions, not interpretation.

Ralph Goings - inside Collin's Diner
Ralph Goings – inside Collin’s Diner

In Goings’ 48-by-68-inch oil painting, there’s more to the eatery than meets the eye. Even with
20/20 acuity, human sight isn’t designed to record the amount of detail that Goings records.

So you’re looking at something beyond realism. Intensity, in the glare of polished diner chrome, is
everywhere: from the precise, razor edge of the tapering second hand on the concave crystal casing
of the diner wall clock to the discernible thickness of a diner patron’s eyeglasses.

With these details, the painting seems to reflect urban life in its seemingly endless facets of
scrubbed metal and glass – monuments to industrial hygiene and sterility. Like a still life, “Collins
Diner” also enumerates the furnishings of our time: paper cups, fast food, swivel stools and the
inevitable clock by which we live.

Signs of the human condition are no match for the overriding crispness of high gloss. A snapshot of
newlyweds on a shelf cannot minimize the bland, neutral anonymity of the whitewashed,
untouched-by-human-hands environment. Man looks like an intruder in his own man-made space. It
is as if in exchange for a high-tech world, he traded off his leading role for a bit part.

Out of this painter’s extraordinary exactness, then, comes social commentary, not only reporting.
Just as omission is a form of editorializing, an opinion also is expressed when nothing is ignored
and everything is emphasized.

And therein lays both Goings’ appeal and his significance. If focus is so sharply defined that
everything in sight looks magnified and underlined as if in red, what you have is a kind of
expressionism – not realism. When Goings flawlessly projects what a camera faultlessly sees, rather
than what the human eye perceives – peripheral blur and all; when art looks like a high-quality color
slide rather than pigments brushed on by hand, he only reiterates the message: Next to precision and
spic-and-span shiny smoothness, people look grimy and beat.

We at Paintings Studio hope you enjoyed reading the article about the psy-link between painting and photography. Feel free to contact us if you have any further questions.

Water Dreaming (Lungkata Tjungurrayi)

We at Paintings Studio today are pleased to present to you information about Lungkata Tjungurrayi, or in its full name “Shorty Lungkata Tjungurrayi”. is a Pintupi man born at Walukuritji (c. 1920 – 1987) south of Lake Macdonald, and is best known as an artist, and important member with Papunya Tula Artists.

Children’s Water Dreaming 1972, 62 x 44 cm, Shorty Lungkarta Tjungurrayi
Children’s Water Dreaming 1972, 62 x 44 cm, Shorty Lungkarta Tjungurrayi

Aborigines used Australia’s wealth in ochre colors (iron oxides) to paint their mythologies on sand, cut bark of stringybark tree and their bodies. In 1972, acrylic paints and masonite boards were made available to a few Aboriginal men congregating in a ‘painting club’. While the usage of contemporary materials served to adulterate, it also helped to popularize Australian Aboriginal art.

Classic Pintupi Water Dreaming 1972, 62 x 42 cm, Shorty Lungkarta Tjungurrayi
Classic Pintupi Water Dreaming 1972, 62 x 42 cm, Shorty Lungkarta Tjungurrayi

Last year, early ‘Papunya’ boards were shown at the Grey Art Gallery, NYU. Paintings from the exhibition are reproduced in a book icons of the desert that also provides anthropological information on Aboriginal art and artists.

Shorty Lungkarta Tjungurrayi, detail of a group portrait, Men’s painting room, Papunya, 1972
Shorty Lungkarta Tjungurrayi, detail of a group portrait, Men’s painting room, Papunya, 1972

Shorty Lungkarta Tjungurrayi, then 52 yr old, was a member of the 1972 painting club. In his ‘Water Dreamings’, he painted the distant region of his youth. Water Dreamings can be openly shown unlike secret men mythologies that were displayed during the NYC exhibition in a separate room. At the entrance, a message warned Aboriginal women not to enter there. These secret boards are reproduced in a separate, removable folder within icons of the desert. (Women, too, possess secret mythologies).

Researching classical pigments, a British journalist visited Australia on her quest for ochre. In her book COLOR, a Natural History of the Palette she writes about contemporary Australian Aboriginal painters, many of whom are women. She also visited the schoolteacher who created the 1972 painting club and thereby provided the impetus for popularizing Australian Aboriginal art.

An explanation of Dreaming is given in COLOR, a Natural History of the Palette:

Traditional Aboriginal life only makes sense in the context of the time when Ancestors first arose out of the original mud or sea or sky and brought the first sunrise with them. In English it is articulated as the “Dreaming” or “Dreamtime” – a dream in the sense that it is not set in the past, but a kind of parallel present universe, rather like the one that we operate in while we are asleep. In Aboriginal lore, the Dreaming is the reason for everything that has ever existed and ever will exist. And its stories are told in layers, depending on how ready, or authorized, the listener is to understand them. It is said that your personal Dreaming depends on where your mother was when she first felt you in the womb. The Ancestors who live in that place have given you “anima” – they have animated you – and when you grow up their stories and songs will be in your trust, and you in theirs.

Religious Oil paintings

religious oil paintings

Religious oil paintings bring your home to life! If you have lived in your home for many years, chances are you might be a little bored with your surroundings. Before repainting or recarpeting, consider purchasing new religious oil paintings. Christian paintings can dramatically change the look and feel of any room.

For instance, you might want to hang a large, historical piece by Arnold Friberg in a formal dining room. This will lend an air of dignity and grace to the room. Works by Larry Dyke can quickly become the centerpiece of any office. Your children’s bedrooms will benefit from the cheerful, touching beauty of religious oil paintings of angels and cherubs.

Religious Oil Paintings Online

The best place to find religious oil paintings and other Christian artworks is online. The Internet is a great source of religious art, with amazing variety. You can easily find signed and numbered prints by all of today’s top artists. You can even commission an artist to make a portrait of your family!

Signed and numbered prints are excellent investments. The more famous the artist, and the smaller the printing, the better your odds of having the painting appreciate in value. This is why signed and numbered prints are ideal baptism gifts. Their value increases over time.

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