Artshot Primary Colors issue 4

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MEET THE TEAM Ali Hayati PR & Marketing

Editorial

Lamees Nijem Graphic Designer

ARTSHOT COMMUNITY

Rasha Al-Jabi Editor

I would like to extend a heartfelt "Thank You" to all those who worked hard and contributed to the making of this issue, as well as all the previous issues, of

MEET THE ARTISTS

Artshot. Without your incredible efforts, Artshot would not have made it this far.

We are back again with yet a new issue, paving the way for more inspiration and creativity, with another theme for our artists to challenge. This issue embraces a new theme which challenged our artists to find a way to step out of their comfort zone and experiment with a brand new art style. The theme "Primary Colors" inspired exceptional talents to craft a painting with the use of three colors only: red, yellow and blue. Yet again, we are honored to see more renowned and hidden talents get connected with our artistic community by submitting their great pieces of art. The variety in used styles, perspectives, and media inspires and compels each one of us to fill the artistic spirit within ourselves. I am also pleased to see many familiar names and faces that have supported the making of Artshot in all of its issues with their infinite dedication and creativity. We definitely look forward to many more issues to come!

With every issue, Artshot is getting more recognized by being transformed into an inspiring art hub for the artistic community in Kuwait. Our vision is to inspire those who appreciate art, those who love art, and those who live art and to grant them our eternal support to help them deliver their best talents. So whether you are a talented, savvy, or start-up artist who is flipping the pages of this magazine, we cannot wait to receive a sample of your artwork, while you take up our upcoming art theme challenge, for a chance to be featured in our next issue.

Ahmed Safer Alaa Ahmad Aseel Al Khateeb Asrae Yazdani Daniella Haddad Diana Ayman Ghazoul Diya Arora Frederick Wilcott Hisham Al-Qanaie Jeena Amin Joliza Mary Fernandes Khalid Al- Daqqa Mariam AlSultan Noha Hesham Philip Solomon Kamble Rand Wael Shami Razan Al-Dehani Sara Babazadeh Sara Qadoumi Sara Sakr Wadha Al-Rshaid

Liali Nijem Founder

artshot.mag@gmail.com

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Contents

ARTICLES 06 Jeena Amin 66 Alaal Ahmed

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INTERVIEWS

One on One with Layla Ali

21 Jedareyat

Sharing her experience at Al Makan Art Expo

48 Layla Ali 58 LSQUARE Studio

TUTORIALS 79 Khalid Al-Daqqa 86 Saif Hassan

58 Animated World

A newly-born animation studio to inspire creativity and novel thinking

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A Colorful Journey Through Art

Concept, technique and inspiration with Jeena Amin

Up-close & Personal with Jedareyat Raising the bar on Kuwait's Street

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An artist’s insight into creative art Alaa Ahmed’s unique blend of talent, inspiration and vigorous practice @artshot_mag

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Watercolor and Ink Painting

A Spotlight on Filografi Art

Art Techniques 101 with Khalid Al-Daqqa

Saif Hassan reveals his technique with string art

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&MUCH MORE

Feature Issue #4

Artist

Jeena Amin As fa r a s I ca n re me mb er, m y e a r l y c h i ld h o o d wa s f i l l e d w i t h col our s , c re a t ivi t y a n d mu c h p a ssio n .

My love for art began at a very young age, particularly in school, when I used to paint on sketches a nd dra wi ng sheets.

In the year 2015, I bega n pai nti ng figures of women on ca nvases w hile, a t the same time, I had just enrolled i n a por trait pai nti ng class as I was i ntrigued to learn abou t this par ticular ar t style. I must admit, however, tha t rea lism ar t was not a ppea li ng to my own taste.

A Colorful Journey Through Art All the way from Kurdistan, Iraq, was born a passionate artist who discovered her love for art - just like most artists - at a very young age. Born in Kuwait in the year 1982, Jeena Amin is a full-time artist by day, and a dedicated mother to two beautiful children by night. the Artshot Team had the privilege of meeting her where she took them in a quick glance through her colorful world of art.

My Inspiration The inspiration behind all of my artworks stems from the very little corners of my workshop, which is located in the apartment where I live.

The combination of tranquility, sunlight, harmony of colors and sound of soft music sets me on the perfect mode to be inspired. I love reflecting the contemporary lifestyles and the many feelings my eyes catch while being inspired by my surroundings. I tend to avoid mainstream and realism painting styles as most of my artworks reflect the ideal beauty of women by highlighting different elements of the feminine facial features including the wide eyes, pointed nose, full lips, etc.

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“My paintings genuinely project women’s state of inner tranquility and peace”

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ADVICE My Style As for the style I use, I tend to stick to a mixture of strong colors and romantic elements for the viewer to savor. You might notice in most of them how the colors are scattered across random spaces without paying much detail to natural shadowing.

Similar to any other artist, I had my own share of challenges when I first started my journey. The first challenge was perhaps learning how to juggle between my passion for art on the one hand, and my love for my family on the other hand. The second was finding the right ways to project my inner feelings on to my canvases – both of which I've eventually overcame. I am currently working on a new project that focuses mostly on women which I will announce to my audience very soon…

My work revolves around exploring faces and specific facial details. I don't set out determined to produce art about any given subject. My sketchbook is always close at hand, so I am constantly drawing and perfecting my craft. Sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images.

Each one of my projects often consists of multiple works, combining different media styles that reflect specific themes and meanings. One example which I could think about is my recent work at the Again Exhibition for Recycled Art.

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The one piece of advice I would give to my audience would be the timeless Practice Makes Perfect.”

Some of the World’s greatest artists we have come to know today did not become who they are in a day and night; many were not even born with a talent. Just like any other gift, art is a tal¬ent which requires polishing and consistent, perhaps even, daily practice. So whether you are a talented amateur or a savvy painter, you must always re¬main determined and dedicate enough time and effort to practice to be able to become the great artist you aspire to become one day. If you can believe it, then you can definitely do it

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The Girl With The Red Tattoo Photoshop 22.5x30cm

Artists Issue #4

Artist

Mother of Dragons Photoshop 63x77cm

Ahmed Safer Contact Info arch.ahmedsafer@gmail.com ahmed_id www.ahmedsaferart.com

I've always been fascinated by the that way art engages the observer; the way it unfolds a certain story and how the observer would react to it. I have also been moved by art's ability to create an alternative dimension for the artist and observer alike.

This fascination was a result of one simple fact: I was drawn to art and have established a very personal relationship with it. In the beginning, all of my artworks where based only on real life still objects.

But as my artistic skills began to mature, I started creating more pieces that were based on imagination and creativity. I would sometimes feel that I am living inside my artworks as I would imagine myself walking along the landscapes of my paintings, interacting with the characters, while being influenced by the atmosphere and mood of the art piece. I would say that my full-time profession as an architect also played a significant role in helping my artistic skills progress. As an architect, I was constantly encouraged to feel and interact with the spaces of my designs as if I were actually walking along the spaces and voids of my work.

General S. Stark of The Allied Armies Photoshop 63x77cm

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Antara Photoshop 63x77cm

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Artists Issue #4

Artist

Alaa Ahmad Contact Info alaahmadart@gmail.com _aalaa

I'm a self-taught figura tive Pai nter; my technique goes from classica l baroque a nd roma nticism to contemporar y rea lism. My ar t is mai n ly i nfluenced a nd i nspired by the old masters. The Du tch master Rembra ndt is one of my grea test i nfluences, i f not the most i nfluentia l to me as a pai nter. Fur ther more, I'm i nterested i n scul pti ng a nd photogra phy. I believe photogra phy is closer to pai nti ng, usi ng the idea of "ma ki ng a por trait with pai nti ng" to ta ke a photo. Recently, I’ve been experimenti ng with d i fferent med iums li ke d igita l pai nti ng a nd photogra phy usi ng trad itiona l techniques to crea te similar results.

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Peacock Oil on Canvas 30x40cm

Artists Issue #4

Artist

Balcony Girl Oil on Canvas 30x40cm

Aseel Al Khateeb Contact Info a.alkhatib885@gmail.com a.alkhateeb_artist

I a m a 31-years-old Syria n citizen w ho was born a nd raised i n Kuwait.

I earned my Master’s Degree i n Busi ness a t Swiss Busi ness School.

My passion is to crea te ar t pieces a nd add a little beau ty to my own world as I’ve enjoyed pai nti ng si nce I was a little child. My ar twor k is primarily the result of my need to pai nt; it is both a cha llenge a nd a n ou tlet, a d iscipli ne a nd a passion.

Inspira tion for me ca n pop-up a t a ny time a nd i n a ny place w hile mai ntai ni ng a rich variety i n my ar t pieces. Oil pai nti ng is my favorite, bu t I a lso li ke to extend my wor k to acr ylic, pastels, i nk, g lass pai nti ng, a mong other techniques.

Lady in Red Acrylic on Canvas 30x40cm

Under My Umbrella Acrylic on Canvas 30x40cm

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Letters Ink on Cardboard 40x50cm

Artists Issue #4

Artist

Asrae Yazdani

Acrylic &Ink on Cardboard 26x39cm

Contact Info khatbyasrae@gmail.com khat_by_asrae

My first experience in calligraphy started with Nastaliq Calligraphy, a Persian Calligraphy style, while I was in high school.

It was then and there I had realized I had a skill in that artistic style.

My actual journey in calligraphy started just a few years later, particularly after graduating university. For almost two years, I focused on teaching myself freestyle calligraphy and calligraphy painting while being inspired by different styles including Diwani, Sunboli, Kereshmeh, Elseed’s style of calligraffiti (the unique blend of calligraphy and graffiti), among many others. It was in those couple of years when I had decided which calligraphy style I wanted to develop and learn. As a result, I started studying Kereshmeh Calligraphy; a new Persian Calligraphy style which was recently invented in Iran. Shortly after in 2015, I earned my Intermediate and Good Degrees in this calligraphy style.

To me, calligraphy is a self-expression platform where I am able to freely reflect myself in terms of what I write and how I write them.

Letters Acrylic & Ink on Canvas 40x90cm

Acrylic & Marker on Canvas 100x150cm

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Interview Issue #4

Up close and personal with Jedareyat Raising the bar on Kuwait's Street

A rt Sc en e!

It all started with a team of four friends: Hind Frances, Sulaiman Al Rawdhan, Abdulaziz Al Rushood and Amina Al Mutawa, who took it upon themselves to add more colors to the streets of Kuwait. As one of them, Sulaiman, was heading for his early business meeting in Al Qsoor, he coincidently came across a worn out wall with lots of foul words. “No one should be reading that,” he thought. Soon enough, the Minister of Social Affairs came to know about the issue as the wall in question fell under her jurisdiction.

When she contacted Sulaiman to inquire more, he suggested using street art to repair the wall by turning it into a masterpiece. The Minister asked Sulaiman to find his team of volunteers and local artists while she offered to help with getting the licenses he needs.

Between brainstorming among the four friends, reaching out to volunteers, purchasing paints and brushes, to getting the right artists on board, Jedareyat came live within a week!

Sulaiman: “It all started by coincidence and within a week, everything kicked-off!”

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Interview Issue #4

to get everyone together on the same page. Of course, it is much easier to work with a single artist on an individual project but the end result of a collaborative project can surprise you. Sometimes, we also try to add a local flavor to the artwork so that people can relate to it better.

Q1) May you briefly introduce yourselves and explain how many members your team has?

I am Hind Frances and we are a team of four: myself, Sulaiman Al Rawdhan, Abdulaziz Al Rushood and Amina Al Mutawa.

Q2) How did your team meet?

We were originally friends before we started the project and we decided to go ahead with it after a series of back-andforth discussions among us.

Q3) We understand that you are a volunteer group. Can you tell us a little bit about the volunteering aspect of your project?

Our main vision is to reduce visual pollution by repairing worn out walls across different neighborhoods in Kuwait. We try to locate those walls around the places we usually hang out in; sometimes we’re even approached by people who ask us to work on a certain neighborhood or in malls. But the walls need to meet certain criteria that form the base of the idea behind our project: they must all be worn out and in need for repair.

Q4) How do you locate the walls you’d like to work on?

As the case was with the wall in Al Qsoor, we usually find our walls by coincidence while having our casual walk or around the areas where we usually hang out as friends. For example, around Mubarak Al Kabeer, specifically in Al Makan and Volume One Café, we eyed many walls that we wanted to work on.

Then comes the next step where we ask around to find out who the owner is, pitch our idea to him, then get the necessary licenses to be able to contact the artists and begin the project.

Q5) How do you find the right artists you need for each project and reach out to volunteers?

We usually contact our friends to ask them if they knew any artists who’d be interested in taking part in the project. We also use our main social media page as well as our personal

Q8) Speaking of art themes, can you briefly tell us about each project?

We started our first project in January 2016 with the Al Qsoor Wall by coincidence as mentioned earlier. Then

accounts through which we get many volunteers on board. You’d be surprised at the how many volunteers we get from around the neighborhood too. For example, while we were working on Al Qsoor wall, we had many boys, including those who had participated in writing the foul words, who came along to and help us out. It felt great to get them involved.

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Our main vision is to reduce visual pollution by repairing worn out walls across different neighborhoods in Kuwait

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Q6) Are you open to welcoming new volunteers on board or are you sufficient with the team you already have?”

The four of us are the management team. We make sure we get everything ready before kicking off each project. We basically take care of the hard or labor work including purchasing paints and brushes, securing funds whenever needed, getting the license to use the venue, etc. But

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came our second project in Mubarakiya which was an interesting one to work on.

The theme was about Kuwaiti Icons from the theater, TV or art scene. So we had graffiti illustrations of celebrities such as Aisha Al Marta, Fahad Al Askar, etc. What was nice about this particular theme is that people were easily able to relate to the artworks in one way or another. The older generation, for example, might not have been able to connect with graffiti per se, but it did not stop them from approaching

us to ask “is that Aisha Al Marta on the wall?” while singing along to some of her old songs. Others even said they were happy we had picked Fahad Al Askar as he’s such a great poet. I guess there’s always a way to help people regardless of their artistic knowledge understand what you do and connect with it.

Our third project was in Mubarak Al Kabeer Street; one of Kuwait City’s leading and main roads. The idea was to shed light on the significant

we do call out for volunteers simultaneously, especially while cleaning up the place or preparing the walls for our artists to use by putting layers of paint or plaster on the walls. We usually get many volunteers from around the neighborhood where we work, especially over the weekend, and it is really nice to see people from the community get involved in the project.

Q7) Are there any specific themes that you try to focus on in all your artworks?

When we decide to work on a specific wall, we have one unified standard: it has to be worn out and in need of repair. As for what kind of artwork goes on the wall, we usually sit and brainstorm among the four of us and create a story depending on the neighborhood where the wall is located and what events happen around it.

We eventually come up with a suitable idea for that location then contact the artists to tell them what we want.

Hind: During a couple of our last projects, we gave the artist a general theme or guidance and let him take control over what he wants to do. There were a couple of times, however, when we were working with multiple artists on the same project and in this case, we needed

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Jedareyat as a community project Sulaiman: “An interesting story to share is that when the project in Al Qsoor was completed, we visited the neighborhood the following day only to discover that some boys had already drawn on the wall. It made us terribly frustrated as we had spent much time and effort on repairing the wall to be ruined the next day. While on site, we came across a group of the boys who had taken part in ruining the wall. So we called them to ask whether they’d be interested in helping us re-paint the wall, and they did. Months later when we visited the site, it still looked as great as new. The moral of the story here is that by including the boys as part of the project, we were also able to build in them a sense of ownership and responsibility towards their community, which felt incredibly amazing.

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Interview Issue #4

role oil had in building Kuwait’s economy in terms of education, travel, business, etc., and our responsibility in using it wisely. The main message here was to “use oil to build a brighter future”. We refer to the wall today as the Economy Wall. Our forth and last project was one of the walls that belonged to the National Council for Culture, Arts and Letter’s building. It was quite a challenge as the wall was huge and we had to rent an electric ladder from CAT to be able to paint the upper part. The Ministry of Electricity would usually support us with all the logistics we need, but because the building was huge, we had to outsource other suppliers to obtian all the materials we needed. As the wall is situated in one of the main roads in Kuwait City and belonged to a major cultural center, we tried to incorporate the Kuwaiti flavor on to but in a way where

everyone would easily relate to.

The end result I must say is a blue masterpiece which you could easily spot while driving across Mubarak Al Kabeer Street.

Q9) Tell us more about the messages you deliver through your projects?”

We do not have any specific messages that we focus on in all of our projects but we might consider doing so in the future. We usually try to incorporate positive messages to motivate people and give them an uplift. Sometimes we add something funny and comical, as the case is, for example, with the National Council Wall. You may not be able to understand the full messages but they just look funny and make everyone smile.

Q10) Can you tell us a little bit about the art technique you use?

There isn’t a specific art technique that we rely on

entirely. It really depends on the style of each artist and what he/she likes to do. But as I said earlier, we try to create guidance or a story for the artist to follow and then take the lead from there.

Q11) What is the maximum number of artist who worked on a single wall?

The maximum was nine. The minimum was one.

Q12) Is it easy to obtain the license for each project?

It depends on who owns the wall. But most people including the government have been quite supportive towards what we do. When we contact them, they are very welcoming. Some even approached us to work on other projects that might not necessarily fall in line with what we do. In that case, we usually put them in contact with the artists and ask them to coordinate with them directly.

Q13) How costly is it to work on each project?

The thing which costs us the most whenever we work on bigger projects is renting the big ladder which costs around KD 200 per day. But because we weren’t able to fully paint the upper part of the wall within a day during one of our projects, we had to rent it for one additional day. Aside from that, we usually get a lot of volunteers who have been very helpful along the way.

We really did not expect our project to reach this point. I must say it had been a huge jump since we started working on our first project. Now, we just manage the logistics part.

Q14) How do you see the level of awareness towards the street art scene in Kuwait?

It is growing! I think it’s always been there but we were only lacking the legal part.

For example, you could paint something one day and the next morning, someone would spray or write on it. So I believe we’ve opened that door where we took care of all the logistics to pave the way for artists to do their artistic part. I also believe there are a lot of artists and creative people out there - even the Arab world in general is getting more colorful.

Q15) Has it ever occurred to you to do more than just walls?

Of course! We thought of floors and stairs, too. However, we haven’t found the right talents to employ. There is one artist we wanted to work with but due to her busy schedule, she couldn’t accommodate our request for the time being. We would love to have her with us on board soon or any artist with creative 3D talents.

Q16) Where do you see yourselves five years from now?

In a colorful Kuwait!

For inquiries or volunteer opportunities, reach out to them on: jedareyat@gmail.com @jedareyat

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Blue Mother 100x70cm

Artists Issue #4

Artist

Breathe 40x50cm

Daniella Haddad Contact Info daniella.janine@gmail.com dannibanani2

My colorful journey i n ar ts bega n a t a ver y young age of four w hen I used to search for faces i n ever ythi ng I looked a t. My i nterest i n por traiture developed because of the ma ny stories a face is able to tell. I was a l ways encouraged to conti nue i n the ar ts field a nd beca me a gradua te of Fi ne Ar ts i n 2012. I believe tha t one of my mai n responsibilities as a n ar tist is to spread a wareness of the impor ta nce of ar t a nd to teach a pprecia tion towards the subj ect. Ar t a llows us to be vulnerable w hich i n turn expa nds our world to be able to see a nd learn new thi ngs ever y day.

Now isn’t tha t exciti ng?

Gray 40x80cm

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Three 40x80cm

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Klimt 40x120cm

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Colours of Freedom 22x30cm

Artists Issue #4

Artist

Diana Ayman Ghazoul Contact Info dianaghazoul@icloud.com daghart

I a m Dia na Gha zoul, I a m 18 years old, a nd I've a l ways enjoyed the power of ar t a nd how it bri ngs life to a plai n piece of pa per usi ng time, effor t, tools a nd, of course, i nspira tion. I have a l ways enjoyed dra wi ng rea listic photos focusi ng mai n ly on eyes a nd a nima ls as I Iove reflecti ng the little details of big pictures. I a m a n ar tist w ho is looki ng forward to publishi ng my ar twor k a nd shari ng it with a wider aud ience to crea te grea ter a wareness abou t the power of ar t.

Ocean Within Our Eyes 22x20cm

Hungry Cold Death 42x59cm

The Greedy Wolf 32x20cm

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The Bue Door Acrylic on Canvas 40x30cm

Artists Issue #4

Artist

Diya Arora Contact Info diya.m3@gmail.com deah.arora

Ind ia n resid i ng i n Kuwait.

I believe myself to be a self-taught artist although I’ve al ways dreamt of ta king my passion for art to the next level by studying Fine Arts. However, and for reasons beyond my control, I end up pursuing Earth Science and started my career as a Geo Scientist in the Oil and Gas Exploration Sector.

The New Born HB Pencils 21x29.7cm

I experiment mostly with acr ylics, oil pastels a nd wa ter colors bu t sketchi ng is still my most preferred ar t style. I sketch por traits a nd I love reflecti ng the facia l fea tures a nd showi ng how each person looks so d i fferent. I li ke meeti ng new people a nd getti ng i nspired by them, a nd I a lso sketch the spirit a nd soul of w ha t I see around me. To me, sketchi ng is d iscover y a nd is a screa m of freedom.

Dreamer HB Pencils 21x29.7cm

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Archer Queen HB Pencils 21x29.7cm

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Sometimes Round Midnight Mixed Media 42x60cm

Artists Issue #4

Artist

This Game Mixed Media 42x60cm

Frederick Wilcott Contact Info fwilcottarts@hotmail.com frederickwilcottartist

Bori n i n the US i n Los Angeles, Ca li fornia, 1969. Lived a nd stud ied i n Kuwait from 1984 - 93. BFA from ca lifornia college of the ar ts Sa n Fra ncisco/ Oa kla nd 1998. Teachi ng degree i n Fi ne Ar ts from Sierra Nevada College, La ke Tahoe, Nevada 2000. Currently Fi ne Ar t teacher a t Kuwait America n School.

Subject Matters Mixed Media 50x70cm

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Between The Lines Mixed Media42x60cm

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Artshot 22.5x30cm

Artists Issue #4

Artist

Hisham Al Qanaie Contact Info

Wall for Jedareyat 200x300cm

hishamalqanaie@gmail.com graffitifreak

I star ted learni ng graffiti 10 years ago proceed i ng a brea kda nci ng phase. I was researchi ng Bboys a nd stumbled across a brea k-da ncer a nd graffiti ar tist ca lled Mr. Wigg les.

To me, this was the first time I sa w letters bei ng dra wn as a for m of ar t by usi ng sensa tiona l flows of colors a nd styles. So I a lso star ted dra wi ng letters a nd rea li zed how i nterested I was i n the structura l aspect of this ar t. This ultima tely led me to pursue a n educa tion a nd career pa th i n Architecture a nd Design.

Freak Wall 350x250cm

Muscle Factory Wall for Goodboy Center 300x350cm

SKC Multicolored 100x100cm Oklahoma State University Graffiti Competition, 1st place

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Artists Issue #4

Artist

Kurdish Lady with her Culture Clothes Wall for Jedareyat 50x60cm

Jeena Ami n Contact Info Jeenaamin82@gmail.com JeenaAmin_Art

My na me is Jeena Ami n. I a m from Kurd ish, Iraq, w ho was born i n Kuwait i n the year 1982. A mother of two girls, I developed deep passion for ar ts a nd colors a t a ver y young age. I wor k predomi na ntly i n the med ium of pai nti ng a nd I had showcased ma ny of my projects i n Recycled Ar ts a t the Agai n Expo i n the Avenues Ma ll a nd Dar Alfunoon.

Woman Dreamy Wall for Jedareyat 50x60cm

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Silent Spirit Wall for Jedareyat 50x60cm

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Liege Acrylic & Spray on Canvas 29.7x42cm

Artists Issue #4

Artist

Joliza Mary Fernandes Contact Info

Despondency Acrylic on Canvas 29.7x42cm

Fernandes.joliza@gmail.com Morbidjo

To me a mere 23-year-old girl, ar t is a ma nifesta tion of a ll tha t words I fail to express. I feel compelled to depict a n array of emotions on pa per through a combi na tion of colors a nd textures. To me, it is often a n expression of w ha t resides withi n withou t bei ng elicited by externa ls.

The best thi ng abou t ar t, i n genera l, is the fact tha t it ca n ma ke a complete stra nger understa nd the essence of w ha t may be the rea lm of thoughts a nd emotions tha t lie withi n the ar tist him/herself.

Azure Water Color on Canvas 22.5x33cm

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Psyche Water Color on Canvas 25.5x31.5cm

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Free for Life Watercolor & Charcoal Pencils on Paper 29.7x42cm

Artists Issue #4

Artist

Khalid Al- Daqqa Contact Info

Burn Bright Watercolor & Charcoal Pencils on Paper 29.7x42cm

khalidndaqqa92@gmail.com khalidaldaqqa

We ca n go through life a nd simply live nor ma lly a nd ord i narily. Bu t w here is the fun i n tha t? In my opi nion, we should a l ways seek the adrena li ne rush a nd tr y to savor ever y moment i n li fe. Most people are yet to get there. It is ver y easy to give up a nd be nor ma l to be able to blend i n. Bu t I a l ways choose to ta ke the highway. If histor y taught us a nythi ng, it would be tha t on ly those w ho sta nd ou t are the ones w ho actua lly defi ne histor y a nd would be remembered genera tions la ter.

I choose to be remembered by the colors of my ar twor k a nd I choose to be forever young a nd roar agai nst nor ma lity. I would not have pai nted a nd kept practici ng if I hadn't found a purpose, a nd my purpose i n ar t is the beau ty I fi nd i n the crimson shade. To me, pai nti ng is sa lva tion a nd ever y first stroke of color is the first knock on the door of a new adventure tha t I have yet to live.

Improvise Charcoal Pencils on Paper 29.7x42cm

Forever Young Charcoal Pencils on Paper 29.7x42cm

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Feature Interview Issue #4

One on One with Layla Ali Sharing her experience at Al Makan Art Expo Artist

Layla Ali

Layla Ali is a passionate Graphic Designer and an Artist who studied arts to pursue a professional career in the same field. she currently works as a Graphic Designer at the Ministry of Youth, and a part-time teacher at the Center of Arts.

Q1: May you briefly introduce yourself?

My name is Layla Ali. I am a 25-year-old designer and an artist. I’ve studied Graphic Design at The American University of Kuwait, and I currently work as a Graphic Designer at the Ministry of Youth and a part-time Art Teacher at the Center of Arts.

Q2: When did your art journey begin?

My art journey began at a very early stage in my life. As a child, I was constantly encouraged to draw, paint and be creative by my teachers in school. At home, my mother also encouraged me to spend my time drawing and painting to develop skills for what I enjoyed and loved doing the most.

This then developed into a hobby and later on, a passion.

Q3: What is the art technique you use? What inspired it?

I’m drawn towards painting portraits. I feel that the human face is very expressive and intriguing. You will always see some part of the human body or face prominent across most of my work. That is my main focus and style.

Q4: Do you have your own art identity? What makes it unique?

Absolutely! I believe every artist needs to have their own identity in their work for them to stand out and be unique. My style of painting is very expressive. What sets my artwork apart from other artists is the intensity in style you’ll immediately be

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Feature Interview Issue #4

Q12: What were the learning experiences you gained by being a apart of this Exhibition?

Participating in this exhibition taught me a great deal. I learned about time management, how to multitask, and how to paint freely while viewers are watching. I also learned how to plan for an exhibition but most significantly, I learned that I need to let go of things sometimes and just go crazy and spontaneous with my artwork.

“I LEARNED TO SOMETIMES LET GO OF THINGS AND GO A BIT CRAZY WITH MY ARTWORK”

Q13: What did you like most about being part of the Exhibition?

I am not going to lie on this one. What I liked the most about being part of this exhibition was the amount of attention I got for my work, or in other words; earning recognition.

I never showcased this much of my art pieces prior to participating in this expo. So being recognized for what I do as well as getting positive feedback from viewers felt absolutely phenomenal! able to sense as I often use a lot of splashing, dripping, pops of bright colors and expressive facial features.

Q5: Tell us about your recent participation in the latest art exhibition at Al Makan?

Being part of the last art exhibition hosted at Al Makan had been quite successful and inspiring. Prior to the kickoff of the expo, I had one week to decide and prepare all the art pieces that would be showcased in the Cube; Al Makan Showroom. So I ended up spending most of my time there on a daily basis for a full week before the official launch.

It was very challenging, I must say, but what matters is that I successfully managed to get everything done within the given deadline. While in the preparation process, many people walked in and I was delighted to greet them and explain to them what I was working on. By the end of the week when everything was ready to kick-off, I had my opening. It felt great to see my hard work paying off and I even managed to get positive feedback from people, too.

Q6: What was the name of the art collection you included in the exhibition?

Manifestations of the Human Condition: Fragments of the Dionysian Mind.

Q7: What was the theme of the art pieces that you included in the exhibition?

My art pieces at this exhibition reflect the very essence of human emotions, including their strengths and weaknesses, and bring that out in a visual way through human facial features and abstract structures. They also represent external manifestations of people’s thoughts,imaginations, as well as the various struggles and perceptions of the world around them.

Q8: What was the inspiration behind those art pieces?

Perhaps the urge to express myself, to make people relate to the meanings behind those pieces, as well as to move something within them.

splashing and dripping. You will always see either one of those, or even both, in each painting.

Q10: What were the challenges you faced during the exhibition?

I did not face so many challenges during the exhibition. The only challenge I would say I faced was trying not to make too much of a mess at my station, which I failed miserably at. There was paint everywhere, and a lot of scrubbing and cleaning after the expo had ended, too.

Q11: Is there an particular message you were trying to convey?

When creating art pieces, there is always a message I would like to deliver across. In fact, there are many messages in my art pieces, but I would like to leave it up to the viewer to think and come up with what they think the message is.

Everyone has their own views and perceptions, so everyone sees what they want to see. I would like to leave it at that.

Advice Work towards what you love, do what you love, and that passion and love will be rewarded and reflected back on to you. Nothing goes to waste; even drafts and mistakes can serve as an advantage to you and your future career.”

Q9: What were the art techniques you used to create those art pieces?

The techniques I use are usually

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Acrylic on Canvas 120x170cm

Artists Issue #4

Artist

Acrylic on Canvas 120x170cm

Mariam AlSultan Contact Info doctor.mfs@hotmail.com dr_mfs_art

My na me is Maria m AlSulta n. I a m a 25 years old med ica l student i n my senior year. I love a nd enjoy crea ti ng ar t as a hobby w henever I may have the time. To me, ar t is a beau tiful way of expressi ng emotions, drea ms, hopes a nd ideas. I have a l ways wa nted to learn more ar t techniques professiona lly a nd I hope to do so i n the near fu ture. I have par ticipa ted i n a couple of ar t exhibitions i n the past, i n add ition to ma ny ba zars w here I was able to sell some of my ar t pieces. I usua lly use socia l med ia to showcase my wor k, especia lly through Instagra m. If a nyone is i nterested i n viewi ng my wor k, they ca n check them ou t by visiti ng my Instagra m account It a l ways ma kes me extremely ha ppy to see other people as excited a nd enthused abou t ar t as I a m.�

Acrylic on Canvas 120x170cm

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Puppy Ma nia Pastel Pencil on Pa per.

29. 7x42cm

Artists Issue #4

Artist

The Woma nizer Gra phite Pencil on Pa per 29.7x42cm

Noha Hesham Contact Info nohahisham@gmail.com art_by_nohita

A n E g y p t i a n b o r n i n Ku w a i t i n December 1983, Noha wor ks predomi na ntly i n the med ium of pencil a nd cha rcoa l dra wi ng a nd s ke t c h i n g . S h e c o m e s f r o m a n a r t i s t i c fa m i l y a s b o t h h e r fa t h e r a n d g r a n d fa t h e r a r e ta l e n t e d ar tists. Her ar tistic process bega n a s a child w hen her parents noticed tha t she wa s g i fted a nd e n c o u r a g e d h e r t o d r a w eve r s i n c e .

S h e i s a s e l f - ta u g h t a r t i s t a s a lthough she’s a l ways drea mt of ta k i n g h e r ta l e n t s t o t h e n ex t l eve l b y s t u d y i n g F i n e A r t s , h ow eve r fo r r e a s o n s r e l a t e d t o t h e e d u ca t i o n a l s y s t e m i n E g y p t , s h e w a s fo r c e d t o m a j o r i n l a w i n s t e a d . Ke e p i n g u p w i t h h e r h e c t i c l e g a l ca r e e r, s h e m a n a g e s , h ow eve r t o p u r s u e h e r p a s s i o n fo r a r t b y c r e a t i n g a n e w pi e c e eve r y o n c e i n a w h i l e .

The Last Embrace Gra phite Pencil on Pa per 29.7x42cm

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Feature Interview Issue #4

ANIMTED WORLD

An overview of a newly-born Animation Studio to inspire creativity and novel thinking LSQUARE is a dream studio that is the brainchild of two twin sisters who have been working on this project for years. The name derives from the initials of our first name, and reflects unique aspects of our character such as our favorite color and fun personality. We are mirror to one another and tend to complete each other.

Our passion for creating motion pictures was ignited years back since early childhood. As children,

we grew up were grew up watching countless Disney Movies, from The Little Mermaid, to Aladdin, to Beauty and the Beast, just to name a few. Along the way, we’ve discovered that one of us has good artistic skills and funky cartoonish style, while the other one understands characters movement, colors and light. It is the beauty of completing one another that made it possible for their dream to come to life.

YOU CREATE WE ANIMATE

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Feature Interview Issue #4

Q1: What is the main scope of your work?

We are a small dream studio with the vision of fostering creativity through combining character design, animation and storytelling, to be able to deliver our clients’ stories in a unique yet fun way. Our work mainly focuses on bringing ideas to life to market your businesses and products in an original and innovative way.

At LSQUARE, we use a combination of 3D Animation and storytelling through computer generated images and motion graphics. By doing so, we are encouraging the market to position their businesses by introducing unique and outof-the-box commercial ideas, to better engage with their audience by giving them an enhanced experience with their products.

factor that the entire project is dependent on. While certain projects can be executed within a week, others could take up to a month or two.

Q6: What are the essential steps to designing any “3D” animation work?

Producing a top-notch 3d animation work requires a lot of effort and collaboration between numerous artists who each has a crucial role to play in the project. In order to have a fully animated short film, we usually go through the following phases: A. The Development phase which includes concept creation, story, outline, treatment and script

Q2: What services does LSQUARE offer?

We provide various types of 2D and 3D animation services.

Each type depends on certain factors including reach, audience profile, concept and medium. With our 2D animation services, we help businesses raise brand awareness and communicate complex information with explanatory videos and infographics. Additionally, we provide a wide range of visual developments services and create various concepts for characters, props and illustrations, as we strive to provide storyboards and numerous concepts for one original idea.

Our team consists of highly skilled creative artists who provide the finest work to meet different expectations and demands.

Q4: What does “3D” animation mean?

The term animation stands for moving images and we aim to promote it in 3 dimensional space.

Q5: How challenging it is to create a 30 second “3D” animation video?

It really depends on each project. Usually, setting up an identity for a project and coming up with the perfect scenario and concept takes a lot of time, and time is a crucial

B. The Pre-production phase which includes translating script and words into images, visual development/ production design (environments, props, overall style), storyboard, character design, color script, camera layout, and animatics.

C. Production which includes character 3D modeling, environment and props modeling, rigging, character animation, texturing and shading, visual effects, lighting, compositing, and camera layout

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D. Post Production which includes compositing, color correction, music and sound effects Q7: Do you see a growing need for the “3D” motion graphics in the market?

Animation is a medium that speaks all languages. It is a versatile and flexible form of art that communicates to a broad audiences; both young and old. As technology develops, we also need updated marketing inventions and tools, and we believe that animation and moving media serve the purpose for communicating various concepts that support social media and advertising. 3D animation is growing remarkably in the region, and we aim to bring up this form of art in the most possible ways.

Q8: What are the challenges you face by choosing to be a “3D” motion artist?

3D art is a very broad topic; one which requires knowledge and special attention to various details. This ranges from concept design, 3d modeling, animation, rigging, visual effects, texturing and shading, lighting, and compositing. In order to deliver a top-notch and high quality work, it is always a good idea to collaborate with different artists who would be able to put in the effort in the area of their own expertise.

One of the major challenges we face is lack of expertise.

We have extremely diverse and artistic talents in our community who thrive on challenges and experimentation. Nevertheless, 3d animation is a relatively new culture that we are trying to spread around day-by-day, in order to establish an outstanding community of our own.

Art is key to our identity and cultural future, and we strive to spread awareness about the impact creating original artworks and its importance in shaping businesses identity. This is why we also aim to inspire the young talents to bring about their original thoughts to imagine and create better alternatives, while making the world a more colorful and diverse place.

Q10: Are there as many “3D” motion artists in the market as you need?

All I can say is that we are surrounded by many exceptional, hidden talents that we are happily discovering one day at a time.

Q11: How are people responding to this new concept in designs in general?

The response is very positive and promising.

Q12: Where do you see yourself going with this project in 5 years?

Our main goal as a production studio is to foster and inspire art. It is to bring original and meaningful art concepts to this part of the world.

One of the major issues I have noticed in my early years in the market is the use/ abuse of stock images, be it through

Q9: Do you think this type of art still has a niche market?

Or do you see a potential for growth?

Like I said earlier, 3d animation is a relatively new concept in the market. But we believe that it is growing remarkably in the region, and we aim to utilize this growth to create something unique and artistic.

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Shutter Stock or any other stock websites.

This results in the lack of creativity and less appreciation for the end design while having repetitive visuals. Our primary goal is to create original art concepts and moving media that reflect our independent identity, we also have the responsibility of providing innovative thinking caps and produce original concepts for our clients to help them become more recognizable.

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Chilli ng a t Barr Wa tercolour on Pa per 29. 7x42cm

Artists Issue #4

Artist

Philip Solomon Kamble Contact Info philipmorris23@gmail.com philip_kamble

I a m a self-taught ar tist w ho is consta ntly searchi ng for new ways to i ncorpora te wa tercolor techniques i nto ca lligra phy. Ca lligra phy is a nd remai ns to be my first passion for ar t, even w hile I li ke experimenti ng with por traits, figures, flora ls a nd la ndsca pes. The majority of my wor k are i nspired by my surround i ngs, my love for music a nd the thi ngs I see w hile traveli ng.

They a lso are ver y sponta neous a nd visibly exciti ng. I li ke to experiment with a number of ar t med iums i nclud i ng wa tercolors, pastels, i nks a nd oils. I a lso love teachi ng ar t techniques a nd a m available on weekends for to do wor kshops a nd demonstra tions on wa tercolors, pastels, a nd travel sketchi ng.

I a m currently wor ki ng on build i ng my own website. Bu t for the time bei ng, please feel free to follow me on Instagra m for more details on my wor k. In the fu ture, I rea lly would li ke to desig n a n illustra tion for a children's book.

Dabke Wa tercolour on Pa per 29.7x42cm

Old Kuwaiti House Wa tercolour on Pa per 29.7x42cm

True Compa nion Wa tercolour on Pa per 29. 7x42cm

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Training 66 Would you like your artwork to be featured in the next issue of Artshot?

We’re always on the look

An artist’s insight into creative art

Alaa Ahmed’s unique blend of talent, inspiration and vigorous practice

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Art Techniques 101 with Khalid Al-Daqqa

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A spotlight on Filografi Art with Saif Hassan

Watercolor and Ink Painting

for talented and creative artists to adorn the pages of our magazine.

If you think you’ve got what it takes, get in touch!

Simply send a sample of your work to artshot.mag@gmail.com, and tell us a bit more about yourself. Don’t be shy, we look forward to seeing your artistic talent!

Saif Hassan reveals his technique with string art

Feature Issue #4

The Technique

An artist’s insight into creative art

Alaa Ahmed’s unique blend of talent, inspiration and vigorous practice

Journey

I started drawing when I was a kid. I grew up on comic books, illustrated story books and some other related stuff. I have to say that I was lucky to have the support of my family. My parents used to buy me books and materials such as paint and brushes. They encouraged me to become a painter and study fine arts. By the time I graduated from high school, I was planning to study fine arts in my home country, but unfortunately I couldn't do that due to some difficult and political circumstances that changed the situation in the Middle East including Egypt. At that point, I needed to study something else to get a bachelor's degree and close this chapter. I taught myself painting and drawing during my university education by joining online courses and reading art books. Also, I need to say that what really helped me enhance my skills was endless practice.

"Try to put well in practice what you already know; and in so doing, you will in good time, discover the hidden things which you now inquire about. Practice what you know, and it will help to make clear what now you do not know". (Rembrandt) This quote by Rembrandt

asking myself questions like:

Rembrandt. With regards to

you have to know to become a

about his work? And what is it

of improvisation. The use of

discloses or explains all that better painter. My technique

lies between classical painting and modern photography. What

that means is that I started my studies by contemplating and

studying Rembrandt’s paintings

intensively; including anatomy, composition, materials and etc.

Later I decided to evolve, to

make something other than what’s typical. I preferred not to

resemble Rembrandt even though I learned a lot from him. I began

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why Rembrandt? What’s great

about his work that influences me and made him my favourite from other painters?

I realized that it’s his use of light, shadows, and what is called (the mood of the

my technique; I love the idea imagination is improvisation, it is beautifully accidental.

This idea came from Jazz Music.

I love Jazz and how musicians improvise over chords.

portrait). In the end, it’s

an image that you’re looking at whether it’s painted or

photographed. There are various approaches to create a picture, yet you need to differentiate yourself from others, like

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Feature Issue #4

THE PROCESS In my drawings, I don’t use reference at all; I allow intuition and “accidents” occur to lead me to a final portrait. I begin with simply just random shapes and gestures. I try to imagine a face as a piece of clay to draw my figure. The idea here is to sculpt and shape a face or a head in space. A good understanding of anatomy is highly recommended because you’re trying to draw a human figure.

Then I try to settle on choices and decisions about the placement of the subject matter and the composition. While pushing ahead, I manipulate the facial components to see what I’m going for.

Then I imagine the light source and how each form responds against the light source. You can depict

this as you’re building up clay to sculpt the face. You start with large shapes down to the smallest detail. Same thing if you work with models or from photographs.

• Three point light setup A very common use of light is a method called (Three point light System). What this does is what we are going to discuss now. First, your

key light; this is your main light to light up your subject and this should not be so bright.

It has to be bright enough to throw some light on the subject. Second, your fill light; this is used to fill the shadow side of the face to decrease the amount of contrast in the

portrait by filling the shadow side with light.

Also, this can be achieved using a reflector

or any other material to bounce light on the

subject. Third, is the rim light; this is used to separate the subject from the background.

For example, if you have a dark background and you want to give your subject more depth, you

can point a third light towards the shadow side from behind the subject to separate him/her

from the dark background. Another way to use

It's better to move forward and try something different that you wouldn't expect yourself doing to step out of your comfort zone. Take as much time as necessary exploring schools of art like impressionism, expressionism, modernism or whatever you feel. The most essential part is to do what you need, and don't listen to whatever discourages you. Also, never compare your work with others.

the third light is to use it as a background

light, which is a very classical technique. You have a third light source pointed towards the

background to separate the subject and to give more depth to the overall portrait.

•Single light setup

This is another lighting setup using only one single light source. And this gives us a very dramatic portrait look. It’s also called a

Rembrandt light setup since he was the first

artist to use this method. Painters, as well as photographers, have used this light setup for centuries. The advantage of this light

setup is that it’s simple and could be done

on low budget. The technique is to bring the

light source and place it in a 45 degree angle from the subject, that’s it. To ensure that

the light is set properly there’s an indicator

The Light setup

that tells you how to place it. You will see a triangle shape on the shadow side underneath the subject’s eye that tells you the correct

placement of the light source. Then you have an option to increase or decrease the amount of

My technique is quite simple. In fact, when I work with models, I always pay attention to the lighting

contrast in the portrait, which we have stated

setup. If the lighting setup is applied properly, it creates depth and makes images more pleasing.

before in the three point light setup by using

For instance, if you look at Rembrandt’s paintings and analyze the way they are rendered, you see an

a fill light or a reflector. A background light

illusion of a 3-dimensional space within the portrait or the scene. This can be achieved by using a

can be very helpful as well. Instead of using

single light or multiple light sources to convey depth in the portrait. This also can be achieved by

a fill light, you can have a background light.

using a camera. This method is a general concept of visualizing and composing the portrait using light

In the end, it’s totally up to you and the look

to create illusion of depth.

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you’re going for.

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Super La zy Adobe Photoshop 25x20cm

Artists Issue #4

Artist

Chemica ls Massacre Adobe Photoshop 25x20cm

Rand Wael Shami Contact Info rand.shami.96@gmail.com randshami www.randshami.com

My na me is Ra nd Sha mi. I a m a self-taught ar tist w ho wor ks a t a n a nima tion stud io i n Kuwait.

To me, ar t is not just defi ned by those connected li nes a nd colors you crea te. It a lso extends to the spirit a nd emotions you pu t i n each pai nti ng. Wherever there is a ta lent, then there defi nitely is a message to share. This is w here my role as a n ar tist kicks i n.

War Adobe Photoshop 25x20cm

Magic of Ar t Adobe Photoshop 25x25cm

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Meet Me Acr ylic on Ca nvas 24x36cm

Artists Issue #4

Artist

My Own Self Acr ylic 24x18cm

Razan Al Dehani Contact Info raldehani@gmail.com thecallisto

I'm 20 years old. I study Interna tiona l Rela tions w hich most people would argue has nothi ng to do with ar t.

However, i n my opi nion, the mai n reason w hy I truly believe i n ar t is because it ca n rela te to ever ythi ng around us. From words, to pictures, to music, to pai nti ngs; it's a ll ar t.

Ever yone sees ar t the way they choose to see a nd understa nd it.

The way I see ar t might be a bit d i fferent compared to the way you or a nother person sees it. I a m genera lly passiona te abou t the ar t pieces I crea te because they represent me i n ma ny ways I a m not able to represent myself otherwise.

The Aba ndoned Acr ylic a nd Charcoa l 14x11cm

Creed Acr ylic 24x18cm

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Delica te Hoyden Acr ylic Colors 50x70cm

Artists Issue #4

Artist

Sara Babazadeh Contact Info sarone.art@gmil.com sarone.art

I a m a 23- y e a r s- o ld a r t ist f rom Per sia w ho is m a j or i ng i n Gra ph ic D esig n a t t he A mer ica n Un i ver s i t y of Ku wa i t (AU K ). I a m a l s o a p a r t - t i me a r t i n st r u c tor a t Ar t s p a ce q 8 . To me , a r t is s i mpl y m y p a ssio n a n d I wou ld l ove to s p rea d a r t ever y w here a s mu c h a s I ca n. I a m ha p p y to h ave h a d g rea t o p p or t u ni t ies to provi d e d i ffere n t st y les of a r t wor k s h o p s, p er for m a n ces a n d l e c t ures , w hic h were i n s pired by l oca l a n d i n ter n a t io n a l a r t ist s, to a r t l over s t hrou g h t he a r t c lub i n my Un i ver si t y ; t ha t is t he G ra p hic D es ig n C lub a t AU K .

Still Life Acr ylic Colors 42x59.4cm Pretense Laughter Charcoa l 40x55cm

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Woma n i n Power Gouache Pai nt 29.7X42cm

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Ibuki Acr ylic on Ca nvas 25x20cm

Artists Issue #4

Artist

My Africa Acr ylic & Oil on Ca nvas 40x80cm

Sara Qadomi Contact Info qaddoumi.sara@gmail.com s.qaddoumi

I a m a Ku wa i t -ba sed a rc hi te c t , a n a d voca te of ra n d o m sel f- ex p ressio n a n d a big b e l iever i n rea c hi ng t he pe a ce of m i n d a n d sou l. S ta r t i ng a t a you ng a g e, a r t i n i t s d i ffere n t s t y l es w ere a l wa y s a va i la ble a t m y f i n g er t ip s. I a p p l ied m y en erg ies i n a rc h i tec t ure for a hig her e d u ca t io n , b u t re a c hed m y i n d ivid u a l is m i n Fi n e Ar t s. To u se ever y co lor o n t he s h e l f i s m y u t m ost j oy a n d epi to me of h a ppi n ess.

Kodama Acr ylic on Ca nvas 40x50cm Naga Acr ylic on Ca nvas 50x50cm

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Tutorials Issue #4

ANIMATE YOUR ART

LEARN THE BASICS OF MOTION GRAPHICS USING ILLUSTRATOR AND AFTER EFFECT IN JUST 1 WEEKEND!

December 2 - 3

Art Techniques 101 with Khalid Al-DAQQA Watercolor and Ink Painting 98862782 Artshot Fa ll 2016

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Tutorials Tutorials Issue #4 Issue #4

1

2

Start with a thin layer of light colors by damping the brush into water, then softly add a thin layer of color into it. The brush must have little color to water ratio to build a wet base of light colors that we will use in step 2.

Add heavy tones of colors to the watery base in step 1, then blend the contents together.

With each stroke, you will notice how the colors will harmoniously blend together in a way that allows us to control how much we want the colors to flow together.

Note that in this step, the brush must have more color to water ratio. To achieve that, it must be damped into colors more than in step 1.

Tip You can bring the painting to life and make it stand out more by using a white gel ink pen and uni-ball pens. I personally choose to use them in a way that gives the impression of randomness and chaos by applying multiple strokes across random directions that eventually add up to building the whole sketch.

3 After obtaining the desired background base for the painting, wait for a few minutes until its fully dry. Once the canvas dries out, you can start adding ink on to it exactly as if you were drawing on an empty piece of paper.

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Colour Chaos Wa tercolour on Pa per 35x48cm

Artists Issue #4

Artist

By the Ca ndle Light Acr ylic on Ga leria Pa per 30x40cm

Sara Sakr Contact Info sakrarts@gmail.com sarasarts sarasarts.weebly.com

C ol or i ng b o o k s a n d wa terco lor s h ave a l wa y s ha d a s p e c ia l p la ce i n my c hi ld ho o d . At t he a g e of 16 , I fou n d m y se l f i n s pired by my la te g ra n d m ot her' s a m a z i ng L a n d s ca p es, a n d d e c id ed to fol l ow her fo ot ste p s. I n m y 7-y e a r j our n e y, I lea r nt o i ls, a c r y l ic s a n d Wa terco lor s, a n d p a i n te d nu merou s la n d s ca p es a n d st i l l l i fe i m a g es.

How ever, I st i l l b el ieve I wa s o n ly a b l e to sc ra tc h t he sur fa ce .

A Pile of Polish Wa tercolour on Pa per 22x30cm

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Droplets Wa tercolour on Pa per 12x17cm

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Beya Bohemia Photoshop 30x22.5cm

Artists Issue #4

Artist

Wadha Al Rshaid Contact Info wadhaalrshaid@hotmail.com donstopdrawingx

My na me is Wadha Al Rshaid a nd I a m 20 years old. I a m currently ma jori ng i n Gra phic Desig n a t the America n University of Kuwait. I've a l ways had a huge passion for ar t as I star ted dra wi ng w hen I was just abou t 7 years old. I would litera lly dra w a nyw here a nd ever yw here, even on the kids' menus.

Confident Demi Lova to Charcoa l Pencil 21x29.7cm

Demi Lova to Gouache/ma keup/pencil 21x29. 7cm

Devonne Charcoa l Pencil 10x12cm

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Tutorials Tutorials Issue #4 Issue #4

A Spotlight on Filografi Art with Saif Hassan The Forgotten Art Technique from the Middle East Saif Hassan is a Jordanian Civil Engineer by profession, a passionate String Artist by choice who take art into a whole new level.

To him, art is more than just a hobby but a way of making a statement by expressing the ideas he's most passionate about. His style of art, better known as Filografi or String Art, relies on connecting strings together using nails that are hammered on to a wooden plate to create unique shapes and designs. Originating from the Middle East; Turkey, and spreading all the way to the west, this art style may seem simple at a first glance yet it requires much creativity, dedication and a lot of patience

It is our pleasure to have you featured in the 4th issue of ArtShot. May you briefly introduce yourself to the readers?

The pleasure is all mine.

My name is Saif Hassan. I’m a Jordanian Civil Engineer currently working in the construction industry as a consultant. For years, I’ve been expressing myself through various mediums of art but the one I like the most so far is String Art which relies on connecting strings (wires) together using dots (nails) that are hammered on to a wooden plate. This type of art helps me release stress while hammering the nails, as well as calm down by connecting the strings together. Truth to be told, I do not consider myself to be a brilliant artist as this is the only style of art which I’ve been able to master so far.

Are you a full-time artist?

As I said earlier, I’m a Civil Engineer by profession but art is just a unique way that helps me express myself.

When did you start your journey as an artist? What was the first painting you’ve ever worked on?

My first art piece was a very simple classic bike which I gave to my cousin as a present on his graduation from high school back in 2004.

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Is this technique common in this part of the world?

Unfortunately, not. It is an uncommon form of art in this part of the world; it’s mainly based in Turkey as it is considered to be a traditional type of art in their culture.

Where did you learn this technique? What inspired it?

Growing up, we owned a small art book which explained some of the traditional art techniques; among which was String Art. My father made several art designs based on the instructions given in the book and he even taught me how to do my first ones, too.

Shortly after, I started my own journey in art. But what made me continue with this type of art in specific is its uniqueness as it gives me clarity and peace of mind. It is also a great way to challenge the people around me who believed I would not be able to continue with this style and even tried to stop me from pursuing it.

The challenges I face using this technique a. I was not able to participate in any public competitions or art galleries due to the unfamiliar art style which I use.

The organizers were not even able to categorize my work under any of the commonly used art styles (oil, pencil, digital, etc.). b. The difficulty in expressing using this style as I draw with only straight lines. It really is hard to make a curve and control the shades which force me to think carefully before starting any art work.

The truth is, it is a challenge that I enjoy despite it limiting my abilities to express. c. Selling the art pieces and finding the proper space to store them. I've been working with this art style since I was 12-years-old and so far, I've only managed to sell %5 of the total pieces that I've created in the past 14 years. The rest is just sitting in my house so you can only imagine that there's no space left to store anymore art pieces. d. The time factor. Working with String Art is quite time consuming due to the large scale of work it requires and the whole process of nailing and wiring; even when you work fast.

Using this technique, what sets each piece unique than the others?

The feelings I get while working on each art piece and how each piece helps me express myself in a unique and different way.

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Tutorials Tutorials Issue #4 Issue #4

d.

Remove the paper once you’re done nailing.

Can you take us through the basic process of designing a painting in this style (e.g., how do you start, what materials you use, how long it takes you to finish one design, etc.)?

It’s as simple as this: cover a wooden plate with a velvet cloth, hammer the nails on to it, and finally, connect the strings in patterns to form the desired design. Here are some tips and details on each step:

Read more details on Saif’s artwork by visiting his Facebook Page https://www.facebook.com/ Filografi.Art/photos

A.

Pre-plan your artwork ahead.

Determine what you’d like to design, what patterns you’ll require and how to form the different layers - which is first and last step of the work.

b.

Cover a good sized wooden plate (about 12-16 mm in thickness) with a velvet cloth.

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c.

Cover the velvet cloth with a layer of paper to draw the location of the nails only, or draw it outside then fix it later. But you cannot draw the pattern of the strings.

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e.

Start connecting the strings through the nails as planned to form the desired artwork.

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Feature Issue #4

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