June 30

Ancient Spring Rituals Involving Music and Rhythm

ae20Yes, the ancient Spring rituals probably included chanting, drumming, dancing/movement. Many anthropologists and ethnomusicologists believe that early humans’ attempts at what we now call music, came from their attempts to imitate the sounds of nature. The wind through the pines and the palms, the waves lapping the shore, the babbling brooks, and the gentle rain. Then there are the beautiful bird songs, the crickets chirping, and all of the cicadas.

Recently, I’ve been marvelling once again about the glorious beauty of Spring, and how a few little bulbs can keep coming up year after year after year! The flowers and trees in Louisville, KY have truly outdone themselves this year and every time I step outside my home, my breath is taken away by the beauty of the white Bradford pear trees, the golden forsythia, and the gorgeous tulips and daffodils. I’m assuming that these plants have been popping up for hundreds, if not thousands, of years, but did you know that music, singing, dancing, and rhythm have also been an integral part of Spring festivities?

For thousands of years, people have celebrated the return of Spring. After hard and cruel winters, in ancient times, many people could not and did not survive. With the first green leaf, and the first sighting of a robin, it’s not hard to imagine that people were quite ecstatic. How did they celebrate? We know from drawings on cave walls that ancient people played drums, flutes, sang and danced! We can imagine that this was done both individually as well as in small groups and large groups… just like now! One of the most famous pieces of Western classical music in the 20th century is Igor Stravinsky’s “The Rite of Spring.” The story goes that people were so enraged at the dissonance in the composition that they literally rioted in the concert hall that night! Of course “The Rite of Spring” is now a staple in the modern concert repertoire.

One of the most ancient symbols of Spring is the egg, probably one of the reasons that the Easter bunny brings beautiful, decorated eggs! Legend has it that on the day of the Spring equinox, somewhere between March 19-21, is the only day of the year that an egg can stand up on its end! That is definitely not true.

Again, legend has it that the phoenix earned its famous immortality by refusing to eat from the forbidden tree in the Garden of Eden. Every 500 years, the bird is said to create a nest of herbs and spices, rest on it, and set itself on fire. After the fire dies down, an egg laid by the phoenix is found among the ashes. The egg hatches, and the phoenix emerges, resurrected. However you choose to celebrate Spring, be sure to enjoy some music as an integral part of it! Spring Legends

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June 20

A Rainbow of Book Club Personalities

ae19“Books serve to show a man that those original thoughts of his aren’t very new after all.” Abraham Lincoln

There are many types of book club friends. Different book personalities (and I mean book personalities not daily personas) that make a book club so entertaining and thought provoking. Every book friend brings an interesting spin at discussion time. Some personalities are down right funny and others take some time to adjust to. Even with the ‘rainbow’ of reading personalities let this be your pledge,”We will always be good listeners, non-interrupters, respectful of comments, and finally, embrace our book natures”. If you follow that oath you will find at the end of the rainbow ‘reading as a group’ pot of gold.

Classifying the book type:

The Classic Austen: Prefers to read only novels from the 1800’s

The Flower Child: Wants to change the world in their reading and picks books that, well, will change the world

The Debbie Downer: Likes novels with no HEA (happy ever after)

The Fighter: Will fight to the end to get their book choice picked

The One Hit Wonder: Only loves one or two authors and be damned all others

The YA’er: Can’t seem to grow out of the young adult section (moderation is the key)

The Modern Reader: Any book that is not a new release is not worth reading

The One Up Ya: I read that book, I read that book, wash rinse, repeat

Goldilocks: The book pick is too short, too long or too old

Question’er: Is it depressing? When was it written? Easy read? Hard read? Who picked this book again?

All book club personalities are special and should be celebrated! If you understand that than your book club will last for years to come. What other, ‘the good, the bad and the ugly’ book personas do you see in your group?

Paperback, e-reader or both?

In our group we have ‘the purist’, ‘the e-reader enthusiast’ and whichever is the less expensive copy, ‘the economist’. ‘The purist’ only purchase paperback or hardcover editions. They come to book club with their novel filled with sticky notes and pages marked with a pencil. ‘The e-reader enthusiast’ arrive with their e-books and all comments highlighted on their Kindle. Last, ‘the economist’ will purchase paperback, hardcover or even an e-book all depending on the best price. Those of us that own e-readers agree that being able to add margin notes that can be edited, highlighting important passages and using the built in dictionary (Jane Eyre anyone?) is worth breaking away from a paperback book now and then.

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June 14

How to Become a Model 4 Versatile Tips

ae18When you are first starting out, you will face a very intense competition. It is about how to keep up with others, how to keep up the pace, and most importantly and I cannot stress this enough, is how you have to be different from others, in a good way. If you are outstanding and unique, chances are, you are more likely to be chosen for projects. So the following are some pointers as to how you can become a model, hopefully a versatile one.

1) Keeping fit and staying in good shape

You cannot always eat what you want to eat; you need to ponder about your diet to make sure you stay in shape. A few pounds heavier could shun off potential projects and that is the last thing you want. Modeling agencies and their clients look for models who are fit and in shape, so that they will be suitable to appeal to the big crowd. Moreover, keeping fit and maintaining a good shape will increase your versatility in landing projects. You could be on a fashion runway, sporting commercial and even projects which involve promoting healthy lifestyle; this is why it is so important to stay fit.

2) Be cool about facing ups and downs

The modeling path is always not going to be a smooth-sailing; you will face all sorts of people, events and scenarios. Harsh criticism, rejections and disapprovals will be inevitable, but in reality, you just have to swallow it down and continue improving. Be tough, stay strong and listen to feedback to improve or survive in this industry. Once you have experienced all sorts of drama, nothing will scare you anymore, and that is how you increase your versatility because you are willing to listen to advice/comments and accomplish the task required.

3) Enrich your life and broaden your horizon

To become a model and especially a unique art piece, you need to experience and learn different things that can distinguish yourself from the rest. If you are into sports and exercising, try out different sports, go for the extreme and even the common ones, learn them, know the basics, and know how the game is played. If you are into fashion, learn about the different brands, or learn about the various types of design and the latest trend. The possibilities are limitless and sky-high, so go for it, expose yourself to different platforms, allow your inner soul to be immersed and share the experiences. Trust me, you will not regret.

4) Maintain your appearance

Your hair, your skin and your teeth, etc are some of the most important physical appearances for you to appeal to the clients and the general public. Imagine a model with unkempt and poor hair condition, small breakouts and blemishes on her face and untidy teeth with plaque. How can he or she score projects with such untidy shape? So maintain your appearance, keep your face flawless, tidy up your hair and practice good oral hygiene, because that is how you appeal and stand out.

Just to sum up, of course I am not saying that these pointers will guarantee you to become a model or even a mainstream one, but it is better than nothing right? At least I hope that you have gain some insights about how to become a model from this article and also the fact that modeling is not as easy as you think. Bear in mind, be bold, be unique and be special.

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June 4

Making a Portrait Cast With Life Casting

ae17Making a life cast of any part of the live human body is a complex and interesting project. However, a life cast cannot get more intricate, and therefore more enjoyable, as making a portrait cast.

This is a three dimensional cast of the head, shoulders and chest of a person and is also called a bust. It involves an elaborate and multifaceted process that calls for a lot of experience and skills. Life casting artists first try their hand at various life casts and make numerous face casts before even attempting to make a portrait casting!

How to do it?

Portrait casts require special care because the artist is making a mold of both the front and back of the model’s face. They have to carefully capture the exact shape and dimensions of the nose, ears, eyes and chin. Extra caution is required so as not to disturb or harm the model in any manner whatsoever.

Generally, alginate is the mold making material of choice for life casts. It has to be reinforced with a shell mold of cheese cloth and plaster bandages that will make the mold firm and enable it to retain its shape.

Numerous challenges arise on the horizon – from keeping the nostrils open to applying the mold material around the eye areas and more. The artist has to watch out for air pockets, carefully replicate the hair and much more.

The model has to stay calm and relaxed throughout the process because any kind of negative expression or disturbance will be clearly visible in the mold.

Demolding from the model is relatively easy and inserting a finger or simply wiggling the face will do the trick. The face mold has to be corrected, finished and cleaned properly before moving ahead.

The back of the head, neck and shoulders also have to be similarly captured in body molds. It is a multipart mold with the various parts being carefully joined together to form a complete mold of the upper part of the body.

Moving to the casting, it can be done with plaster, polyurethanes or silicone rubber. This has to be done soon as the alginate mold tends to shrink with time. It can even get distorted. Once a thick coat of the casting material is applied properly into all the nooks and crevices of the mold, it should be left to cure properly. The cast will have to be backfilled with foam or other filler to get the desired feel and weight. Then comes the task of sculpting the eyes, hair and finishing the cast. Later on, the finished bust can be cast in stone or even in metal in a foundry.

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May 30

Choosing and Making the Most Out of Your Event Space

ae16If you are planning to host a few friends or colleagues for dinner or an official event, it is wise to look for an ideal venue that you can rent. Here are some of the primary factors that you should consider when looking for an event space.


Different facilities charge varying prices to use their amenities. Hence, it is wise to compare prices to find the one that best fits your budget. Keep the venue cost low to allow more room in your budget for beverages, entertainment, food, and other miscellaneous expenses. You can also save money by being flexible on the date, as there are certain days of the week when some facilities charge low prices.


If you intend to serve food, consider looking for a facility that has a kitchen to reduce your expenditure on dining. In most cases, facilities that do not have a kitchen hire a catering company or allow clients to bring in their own food or caterer. Other amenities that you should consider include an internet connection, audio-visual equipment, and clean up services.


Your selected event space should accommodate all your guests. More often than not, venues that offer food and beverages often have a minimum and a maximum number of people that they can serve. That said, some can make special arrangements if you project that the number of attendees will slightly exceed the maximum limit. Having all this information beforehand will help you to make the right choice.


Take the time to consider the geographical location of your target audience. Ideally, the venue should be within a reasonable distance from most of your expected guests. However, if most of the attendees will be traveling from outside the country or state, hosting the occasion near their hotels or airport is ideal.

Below are three tips on how to make the most out of your selected event venue.

Set the Mood

The mood inside the meeting, conference, or boardroom should resonate with the nature of your meeting. For instance, a design company that wants to hold a board meeting can decorate the area with posh carpeting, cozy seating areas, special lighting, and digital displays.

Have a Branding Alley

Create a branding alley to showcase your company’s sponsors and business partners. You can also go the extra mile and have someone give out product samples, brochures, or themed cards

Have a Mini-Networking Space

This space will give the attendees an excellent opportunity to network and socialize. It should have seats and a fast internet connection to facilitate the exchange of contacts

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May 21

Leaders and Artists More in Common Than You Think

ae15Creating art has a lot in common with authentic leadership. This article delves ever so lightly into how two deep subjects display many of the same characteristics.

To begin with, the path to true leadership is a journey that begins with attaining an understanding of who you are really. The ethical leadership of others requires that you first understand your own values and perspectives, your own vision, your own mission in life. In creating art, in order to ultimately produce quality work with meaning, a similar journey must be undertaken. You must know you—your own values and perspectives, vision, and mission to ensure that the art you are producing is grounded in authenticity and that you are pursuing truth, whatever that means to you. In visual arts like painting, are you just copying a scene from nature or how someone looks to you, or are you capturing light, shadow, color, texture, and value to express meaning beyond superficial appearance? In music, are you repeating someone’s song to sound like them or are you searching for your voice and bringing out the emotion from deep within, connecting with your listeners?

Developing leadership qualities takes time, in years rather than weeks. Some believe, as in most tribal communities, that a leader is born. I am of the school of leadership that believes a leader, being born with certain inherent qualities, can be made. This is not the fashioned leadership of the military or corporate world known as headship. In this form, a person exhibits certain managerial skills like having the ability to take initiative. They are then moved into increasingly more responsible positions until they are at the head of whatever group. In my view, they’ve become a strong manager, but not a leader as discussed here. A leader spends many years learning the craft of management—a set of skills enabling them to accomplish goals and objectives by coordinating a team of people and overseeing their production. He/she helps them manage their time, learn new skills, relate to people, etc. in order to be productive. A leader, on the other hand, has a vision and moves people ethically forward to see and pursue that vision for the common good. This is what we would hope to see in elected officials, but rarely do.

An artist, after mastering whatever craft required in their field, must elevate beyond craftsmanship and move toward truth by having a vision and through their work engage observers/listeners to see and understand that vision. Just as a leader engages the hopes, dreams, and aspirations of his/her followers and guides them purposefully toward his/her vision fulfillment, so the artist—through a series of thoughtful methods—moves observers/listeners to begin to share the same vision in the mind of that artist.

A question that sometimes faces people learning about authentic leadership is this: Do you consider Hitler a leader? The answer is no. Authentic leadership cannot exist without an ethical foundation.

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May 14

3D Printing With Polymers The Stereolithography Way

ae14Stereolithography is a unique process of creating three-dimensional objects with a computer within a few hours. It is also called 3D printing, 3D layering or additive manufacturing.

It employs a novel technique to create a solid object in its entirety. The base is a drawing (CAD) and the computer uses the drawing to create the three dimensional object. The computer literally creates the object layer by layer and this is why it is also called additive manufacturing.

How it works?

A liquid polymer – like polyurethane resin or silicone rubber – forms the base for forming the solid plastic object.

The technician has to first design a CAD drawing of the desired object. The computer will then break up the CAD program into layers before ‘printing’ it on the material.

Indeed, the computer literally prints (or paints) the cross section pattern of the base of the object using the desired polymer in the vat. A thin layer is formed which quickly hardens when exposed to the computer-controlled laser beam. The computer again traces another layer of the object and the liquid polymer hardens quickly enough on laser contact.

In this way, successive slices are constantly added one on top of the other, till the entire structure of the object is formed and solidifies. It has to be rinsed, cleaned and baked for proper curing.

This 3D printing computer is called a stereolithograph apparatus (SLA). It takes a minute or so to print a layer and a medium sized object can be ready within 6 hours or so. Bigger and more detailed objects can even take days.

In fact, stereolithography is only one of the forms of 3D printing objects. But it is the most popular technique as it makes rapid prototyping possible. You no longer have to wait for months to see how your invention will actually shape out. A sample can be ready for your perusal within a matter of hours. Changes and improvements also pan out faster and better.

Even mechanical engineers take advantage of this technology to verify the form or fit of a part (say screw or even a door handle) before putting it into mass production. And so do medical and manufacturing industries. The best part is that the samples or parts always turn out accurate and are durable too. And it is not to expensive either.

Indeed, all you have to now do is physically visualize a product to be able to turn it into a tangible reality! Just fall back on 3D printing and let the computer software and its ultraviolet laser tools do the job on the silicones or polyurethanes. It is actually quite exciting to watch how the liquid silicones or polyurethanes are quickly converted into different kinds of solid objects right in front of your eyes! All it takes is a little more finishing and you are ready to go!

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May 4

Finishing Our Wicker Baskets Using Unique Products

ae13Stake Basket

    • Choose eight long, medium willow shoots to serve as the basket’s “stakes.” These are the vertical pieces that form the structure of the sides of the basket.


    • Use your knife to sharpen the end into points. Insert a stake alongside each of your spokes, pushing each one down into the weaves as close to the center as possible.


    • Bend the stakes so they are pointing upward toward the sky.


    • Use knife, to trim the spokes back so they’re level with the edge of the weaves, then tie the stakes together at their tips to keep them in place.


    • Weave two rows of three rod wale. This weave requires three weavers, which are woven among the stakes to set them in position. Find three long, thin shoots. Sharpen the ends into points.


    • Insert the shoots into the base of the basket on the left side of three consecutive stakes.


    • Now do two rows of the weave as follows: Bend the far left weaver to the right in front of two stakes.


    • Pass it behind the third stake and out to the front. Take the next far left weaver and bend it to the right in front of two stakes. Pass it behind the third stake and out to the front.


  • Continue weaving this way, always starting with the far left weaver, until you have two rows of three rod Wale.

Untie Stakes

    • Add weavers to the sides of the basket. Find eight long thin shoots. Use your knife to sharpen the ends into points. Insert one, when you start with new shoots you will always sharpen them first.


    • Now insert one weaver into the basket behind a stake.


    • Bend it over the next stake to the left, pass it behind the stake to the left of that one, and pass it back to the front. Now insert a second weaver behind the stake to the right of the starting point of your first weaver and do the same – pass it over the stake to the left, under the stake to the left of that one and back to the front. Continue adding weavers this way until there is one weaver next to each stake.


    • When you insert the last two weavers, you’ll need to lift up the first weavers a bit to make room to add the last weavers underneath. Use an awl or a long nail.


  • This type of weave is called French Rand, it’s a popular weave that results in even, upright sides.

Weave Sides

    • Take weaver and pass it in front of the stake to the left, then behind the stake to the left of that, and bring the end out to the front. Take the next weaver to the right of the starting weaver and pass it in front of the stake to the left, then behind the stake to the left of that, and bring the end out to the front. Take the next weaver to the right of the starting weaver and pass it in front of the stake to the left, then behind the stake to the left of that, and bring the end out to the front.


    • Continue weaving this way around the whole basket, always starting with the next weaver to the right.


    • When you get back to the start you’ll see that there are two weavers behind the last two stakes.


    • Both weavers need to be woven around the stakes. Do the bottom weaver first, then do the top weaver.


    • For the last stake, do the bottom weaver first then the top weaver.


  • Continue with French Rand until you’ve built up the sides as high as you’d like them to go, then trim the tips of the weavers.

Secure weave

    • With a row of three rod wale. Find three long, thin shoots. Sharpen the ends into points.


    • Insert the shoots on the left side of three consecutive stakes. Now do one row of rod wale.


    • Bend the far left weaver to the right in front of two stakes. Pass it behind the third stake and out to the front.


    • Take the next far left weaver and bend it to the right in front of two stakes. Pass it behind the third stake and out to the front.


  • Continue weaving this way, always starting with the far left weaver, until you have a row of three rod wale.

Finish Rim

    • Bend one of the stakes to the right and pass it behind the first two stakes. Pass it in front of the third and fourth stakes. Pass it behind the fifth stake, then pass it back to the front.


    • Repeat with the next stake to the right of your starting stake.


    • The last two stakes won’t have other stakes to weave around, since they’ll be woven into the rim.


  • Instead of weaving around stakes, follow the same pattern,- but thread the tip in and out of the border. Cut the tips of the woven stakes even with the side of the basket.

Making handle

    • Make the base. Find a thick shoot to use as the base. Bend it over the basket, holding the ends in place, to find out how high you want the handle to be.


  • Cut it to the size, leaving several inches of extra length on each side. Sharpen the ends into points and insert them into the basket next to two stakes directly opposite each other.


    • Insert five thin shoots into the weave alongside the handle. Sharpen the ends and insert them deep into the weave so that they lay right next to each other.


    • Wrap the handle with the shoots. Gather the shoots and wrap them around the handle like a ribbon until you reach the other end of the handle. Make sure the shoots lie flat right next to each other. Tuck the tips under the top of the woven rim.


  • Secure the sides of the handle. Insert a thin shoot into the weave alongside one side of the handle. Bend toward the handle and wrap the base of the handle several times to secure the shoots are in place. Keep wrapping tightly until the base of the handle is secure, then pass the end of the shoot under the last wrap and pull it tight, then trim the tip. Secure the other side of the handle the same way.
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April 28

Emotional Time and Space Grid

ae12The nature of all emotion is as a smooth progression of one emotion leading to another by increases or decreases in volume or intensity. More or less of one emotion leads you into the next nearby emotion above or below it.

In general, everyday experience carries us through an ebb and flow of emotions within a limited range. But under those rare circumstances, human emotion gets rattled by an intense personal experience that changes the smooth ebbing and flowing and turns it into a jagged, tumultuous mental environment.

This is what makes art, in all its forms, a focal point in all cultures because it expands the normal range of our emotional experiences through our perceptions. If the art possesses just the right formula it disturbs the landscape of consciousness and activates the mind’s scanners.

As these scanners detect the source of disturbance and focus on it, attention begins to pool and collect in that area and reverberates. Attention pours into that starting point and will rise into a stretched wave, suspended across time, as the mind continues receiving a constant stream of information. The wave rises and falls as the signal increases and decreases in intensity or volume.

Art expressed with a narrow range of dynamic components translates into emotions expressed within a narrow band of feeling. To expand feeling one has to expand the range of dynamic elements to approach the analogue quality of human emotions. Once the force of an artwork has captured the attention of the mind it is brought to the emotional time and space grid.

The time and space of an emotion is a precise convergence of factors that align in such a way so as to produce a series of perceptions similar in tone as the emotion in question. Art brings creative work to this point when the convergence of factors impacts the mind with sufficient force to call forth or evoke a particular emotion or emotional experience.

Try to imagine that the mind is a grid spread out as a single plane. It’s this plane that stands between the senses along with the outside world and our memories and subconscious. So what happens is that as the senses flow in perceptions they are sent through this grid and sorted by some kind of signal recognition relay switch into which sets of perceptions get put in the appropriate slots of emotion so as to access certain recent memories or memories from a long forgotten past.

All memories can be accessed by a unique blueprint of emotion. One might be able to describe such a blueprint by percentages such as 20% “anger,” 50% “disgust,” and 15% “fear.” Even groups of memories tend to cluster around emotional blueprints with specific characteristics in such a compact manner that they sometimes produce mass, which a person registers as a kind of heaviness in the mind. The more mass is built around such a cluster, the more we feel as if the emotional floodgates will weaken and break to overwhelm us in a tsunami of emotion.

The emotional time and space grid is similar to a coordinate system drawn on a globe or map, where art impacts the senses and targets the emotions in a particular way to cause a reaction unique to each individual. The action that produces this experience occurs automatically, but is programmed by the individual or with the individual’s consent by another. Each emotion has an exact “location” in our mental world.

The strength of the artist lies in their ability to master the techniques in their field and use them to produce emotional experiences in the minds of their audience. The power of art is in its ability to target one of these locations in the mind specifically to “turn on” the emotions in that area and to bring back the memories associated with that particular emotional blueprint. The emotions come first to affect a physiological response, then the memories cluster into a mass. Ineffective works of art typically produce a very mild but unregistered response. Successful works of art operate to either bring in more mass or sustain the existing mass. This is what elevates the perception of art into an emotional experience for the individual.

Science has yet to be able to establish the exact coordinates to any one of the emotion within the universe of our minds. So for now the only techniques that are available to evoke the emotions exist within those studies that range the field of aesthetics. All fields of creative work from architecture to cosmetology inherently possess the ability to impact the emotional time and space of an individual.

Smooth lines, slopes, and treacherous mountain ranges comprise the terrain of the mind when the emotions are activated, so one needs a map with accurate details to navigate its environment. Art is the stimuli, our memories are the map and the dynamic components of each art form are the instruments for navigating the emotional landscape in our minds.

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April 22

Intensity of Emotion in Art

ae11The intensity of emotion is best expressed by using the dynamic methods of an art form. Every creative subject has its own formalized approaches for dynamic usage, but in general dynamics are tools we can use as options for increasing or decreasing the amount of emotion flowing between artist and audience.

The flow of emotion through art is a two-way flow occurring between two terminals – the artist’s mind and the audience’s mind. The flow is smooth when the emotional impact sends a feedback signal that is regular and consistent, but rough and jagged when inconsistencies cause disturbances to the balance of smoothness. Both of these effects change by manipulating the types of emotions in question with their artistic dynamic equivalents.

The emotional impact of a dynamic component can be altered in one of two basic categories: suddenly and gradually.

A sudden impact will manifest as a punch or direct influence with no subtlety about it, but sometimes it will occur as a harmonious and seamless emergence within a work of art. In contrast, a gradual emotional impact will usually seem to come from a far distance or an unexpected angle by slowly drawing an increasing amount of the audience’s attention to it for a pleasing surprise.

Using dynamics as a diagnostic tool is a way of testing, measuring, and adjusting the intensity of emotion in an art form.

Gradual change or a sudden impact basically comprise all types of dynamic categories, but it’s the combination, structure and timing of each of these elements that alter the distribution of emotional intensity in creative work.

By pushing some dynamic factors to extremes and reducing others to levels where you’d hardly notice their presence, you begin to get a feel for how each factor will interact with every other factor you’re using.

Here are a few dynamic components that an artist must control in any of their creative works that give them the power to alter the intensity of emotion as well as the emotional impact that is in their product.


















In whatever manner an artist uses dynamic components to generate new and unique artistic experiences, it is very important that the work expresses a clear statement and definite idea that is truly the artist’s creative vision. A simple concept, short phrase, ingredient list, color scheme, or dramatic theme are all great places to start.

Once you’ve got a basis or foundation from which to grow and build a composition, it’s easy to begin testing different dynamic components to determine the results of each experiment. Note taking can be extremely helpful and invaluable during this part of the process so as to trace your line of progress.

The process will soon accelerate and bring you even closer to the end product. Each line of progress will reveal some new element, an interesting combination of factors, or an unusual result that can be re-created and explored at a later time.

One of the most important keys to forming successful pieces of art is by illustrating in its structure how the result developed or grew. The combination of elements should form a harmony or balance of factors that seem like they couldn’t have existed apart from each other or that they somehow always belonged together.

Ultimately, the goal of experimenting with various dynamic elements is to make discoveries through unexpected surprises, marvelous accidents, or clever feats of chance that couldn’t have been planned in advance. This is the realm of game-changing artistic products, which are truly ground-breaking, and that usher in “the new” and set trends.

Every artistic idea possesses a little piece of the artist himself and becomes imbued with part of their life energy. This is part of the alchemy of creative work, where the artist extends himself into the work of art and the piece begins to take on a life of its own.

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