ISSUE 09
HOLIDAY BUMPER ISSUE
ART TUTORIALS COMPETITIONS ACTIVITIES LUNCH BOX IDEAS ARTIST FEATURES AMBASSADORS AND SO MUCH MORE....
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Table of Contents
How often have we heard the words, “Stop dreaming and just listen to what I am telling you”? They are usually directed towards a child who seems to be day-dreaming, and uttered by either a parent or a long-suffering teacher. Childhood is where imagination has its starting point and serves many purposes.
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Catherine Jenna Hendry (CJ Hendry) (born 1988) is a contemporary Australian artist known for hyper-realistic, large-scale renderings of luxury objects using a self-developed scribbling technique.
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TUTORIAL - DRAW SEAN CONNERY
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JUAN FRANCISCO - REALISTIC BALLPOINT DRAWINGS
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CREATIVE LUNCHBOX IDEAS FOR KIDS
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SALVIDOR DALI
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IMPORTANCE OF IMAGINATION BY JUDY NEMETH
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STAEDTLER AMBASSADOR - BRUCE MTHEMBU
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SAFETY IN ONE’S DAY TO DAY LIFE BY JUDY NEMETH
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COMPETITION - IF YOU WERE PRESIDENT FOR A DAY
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SUMMER TREND COLOURS
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COMPETITION - STOP VIOLENCE
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LIZZIE CAMPBELL - THE FIMO QUEEN
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BACK TO SCHOOL ESSENTIALS
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COMPETITION - I LOVE STAEDTLER
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PROS & CONS OF TECHNOLOGY BY JUDY NEMETH
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KIDS ACTIVITY ZONE
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SIYANDA NGABANE
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TUTORIAL - MAKE A FIMO SANTA CLAUSE
EDITORS NOTE
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KEITH HARING AND HIS CONTRIBUTIONS TO ART
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It has been an exceptionally tough year for most people in a variety of ways but the dreaded and unexpected COVID-19 certainly impacted most peoples lives. The year has also seemed to pass at a rate of knots and everyone we speak to is looking forward to some form of break over the festive season. We decided that Mars magazine issue 9 would be a bumper issue and although it is filled with most of the regular topics and stories we have loaded it with kids activities. This will allow parents to download this issue and print out the activities. We have tried to accommodate all ages and hope that you find some time to put your feet up and escape reality with the help of this issue. Don’t forget to enter the competitions to stand a chance to win some wonderful cash prizes. We would like to wish all our readers and customers the very best for the coming year and wish you safe travels if you are visiting family and friends. From the entire STAEDTLER South Africa team.
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AMBASSADOR MICHAEL LINTON LUCAS
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CJ Hendry Catherine Jenna Hendry (CJ Hendry) (born 1988) is a contemporary Australian artist known for hyperrealistic, large-scale renderings of luxury objects using a self-developed scribbling technique.
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Cj Hendry might not be a conventional artist by definition, but she’s paved her own way into the art world and she persists in doing things her own way – and it’s working. Unlike artists who have their start honing their skills through endless classes and critiques in art school, making it into a gallery, or fighting for commissions, Hendry, South African-born now living and working in New York City, found her path another way. In 2012, Hendry was living in her hometown of Brisbane working towards a finance degree. She’d previously dropped out of architecture school but still wasn’t sold on finance. That was when she took to Instagram to showcase her drawing process. She gave herself a year to see what would happen if she put her all into drawing. On November 16th that year she posted a close-up shot of her working on a pen on paper drawing with the caption: ‘Starting the background.’ She used her feed to show her followers her process, materials, and finished products and people took to her. Her hyper-realistic drawings of everything from Louboutin’s to bones, crumpled up Pantone samples boxing gloves, make her now 350,000 followers salivate. Hendry recently estimated that she’s poured about 50,000 hours into honing her technique. Having used Instagram as a platform to promote and sell her works she’s often referred to as an ‘Instagram artist.’ The New York Times has questioned if she’s vying for validation from the art world. Yet, she doesn’t seem to be looking for any acceptance and while, yes, she’s an Instagram artist in that she’s utilized social media to her benefit, her work and incredible technical skill can’t be reduced to simply that. Moreover, her transparency through Instagram makes her accessible – you don’t need a PhD in Fine Arts to enjoy, appreciate, and interact with her works. Perhaps it’s better if you don’t?
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In 2016 Hendry expanded her practice with the launch of a collaboration with fashion house Christian Louboutin
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Without much knowledge on how to price her work, which can take anywhere from weeks to months to complete one drawing, she asked for $10,000. ‘The collector bought it straight away,’ she told HYPEBEAST in an interview and things kept going that way. Now, she has a following of collectors. All the money she gets from her works, she cycles back into her practice, projects, and into the solo exhibitions that she creates once or twice a year. Her works might be seen as a critique on their subjects but she doesn’t. She instead sees her pen and colours pencil drawings of luxury items as a celebration of consumerism and materialism. She’s known for crumpling up flat objects, like the drawings of Warhol’s famous Polaroids (which left her with a copyright infringement issue and gave away her drawings that were printed on shirts as not to profit off them) not to destroy them, but to add more depth, which translates in a more interesting way to her 2D renderings. In 2018, her exhibition, named ‘MONOCHROME’, drew in visitors to see the ‘house’ she created inside a 10,000-square-foot space in Greenpoint, Brooklyn. Each room featured her drawings of the Pantone labels, grouped by colour, surrounded by a room of things in that colour. Yesterday, her newest exhibition, ‘RORSCHACH’opened in Dumbo, Brooklyn. Hendry drew inspiration from the Rorschach inkblot test but, using coloured pencil, added the looks of high-gloss paint and tantalizing colour. They’re exhibited amongst a custom-made white bounce made meant to evoke the inside of a mental hospital. These works will go on sale on April 15th and entrance to the exhibition is $10 at the door. Credits Wikipedia The Coolhunter Art-critique
In 2013, she sold her first work through Instagram. A 40- by 60- inch pen and paper drawing of RM William boots went to a collector who messaged her on Instagram asking for the price of the drawing.
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TUTORIAL WITH RIAAN
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Sean Connery 1930 – 2020 In this tutorial we pay homage to a fallen hero. Sean Connery was the very first James Bond and has been cast in many other successful films. Today we are honouring Sean Connery by drawing a portrait of him. You don’t need to draw Sean, but by using my methods you should be able to draw anyone else.
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Preparing a drawing I usually start all my drawings on printing paper. This allows me to make mistakes and correct them. Eventually after loads of erasing mistakes the paper starts to stain and erasing becomes harder. This is why I prefer starting off with printing paper. Using a scale/proportional divider allows me to be as accurate as possible. Once I am done with the rough drawing I transfer it to my 200 gram drawing paper by scratching the back with graphite and then drawing on top of my rough drawing with a pen. After that I lighten my traced drawing with a knead-able eraser almost to the point of vanishing. Now I can start my actual drawing. STEP 02
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STEP 01
I absolutely love STAEDTLER’s Lumograph pencils. They hardly ever break while I sharpen them and they are always of a consistent quality. In step 01 and for most of the drawing I use a 4B and lightly start shading the skin. Because we intend to use STAEDTLER’s smudge stick, I draw it slightly lighter. Smudging makes the graphite appear darker.
STEP 03
Using STAEDTLER’s smudge stick I smooth out the pencil marks to create an even skin tone. Start on the darkest area first, this will pick up graphite which you will now be able to smear and extend to more areas of the skin.
Here am bold and make the black areas as dark as possible. Although the smudge stick tend to make it look darker it also removes graphite. So in the dark areas you need to make it as dark as possible and most often you will need to go back after smudging to make it darker again.
STEP 04
STEP 05
Here I keep shaping the nose, looking carefully where it goes from dark to light. It pays to read up on anatomy and study it as much as possible. Understanding the structure underneath the skin is vital to portray it realistically.
Work in small manageable sections. Here I’ve picked the nose area and concentrate on this area alone. This helps me to finish this area to perfection before moving on to the next section. When I paint I tend to work the whole painting and bring every area up to the same level. When drawing I tend to reverse my strategy and finish small areas to almost completion.
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STEP 06
STEP 07
By now my method should become predictable. Draw a light layer, then smudge it and in some instances as you will see in Step 07, use STAEDTLER’ knead-able eraser to lift graphite where I need to revive a highlight.
I was always hesitant to use knead-able eraser and in fact find them hard to use. They feel clumsy and never seem to remove enough graphite from the paper. It just this last property that makes them an ideal tool for skin tones. You can shape into a fine point for fine hair erasing or shape it into a ball to have a blunt point to dot away bigger areas of graphite.
STEP 08
STEP 09
Time for the forehead. Depending on the age of your subject there will be more or less wrinkles. To draw this correctly you need to pay careful attention of where the light and dark areas are. Because most of the light is coming from above, the wrinkle will have darker areas above it as it hides the light. Below it it will be lighter as the flesh bulges from the underneath the wrinkle.blunt point to dot away bigger areas of graphite.
As before I use the smudge stick to smooth out my pencil marks to simulate the texture of skin. For fair skin you will need to be more careful not to create too much texture for the skin. With older people and men, texture is desirable to create that weathered look and feel for the skin.
STEP 10
STEP 11
Using my STAEDTLER knead-able eraser (actually two combined) I lift the highlight just below the pleats to make the skin pop out a bit better.
Eyes are the most fun to draw, but also the most difficult. There is a lot to consider when drawing eyes. Where is the light coming from and how does it influence the shadows around the eyes? What does it do to to the iris and what sort of specular reflections are visible on the lens? The more you ask yourself about what you see, the easier it will be to draw it. Pages 13 : 117
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STEP 12
STEP 13
Now I smooth everything again with the smudge stick. You might loose some of your highlights, but our trusty knead-able eraser will help us recuperate them.
Speaking of the devil, here I am preparing the knead-able eraser into a fine point to lift out the graphite in areas where I lost highlights.
STEP 14
STEP 15
Now I tackle the rest of the forehead by laying down a light layer of graphite. I look closely to where it is light and where it is dark. Because most of the light is coming from the left the shades to the right will be darker.
I do my blending using small circular motions. This is will prevent streaks and give a more natural skin look to the shades. Sometimes I use hatching but only after I did the blending using circular motions.
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STEP 17
The eyebrows are not that difficult to do. It is important to leave open spaces where you need the hair to be light. Look closely at you reference for the lighter hair.
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Here you can see how I used that avoidance technique. Keep the brow slightly darker at the lower part to suggest that less light reaches there.
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STEP 18
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Time to shade the cheek. Think of the cheek as a ball. Lighter on the point where it receives the most light and getting darker in all direction away from that highlight.
As usual I grab the smudge stick and shade the graphite smoothly, but I pay attention to where the skin makes folds. Here I use the smudge stick directionally to create the deeper shades
STEP 20
STEP 21
Lips can be tricky sometimes, so always remember that in normal light where the light is from above, the upper lip will always be darker than the lower lip. The darkest part will be where the lips purse together.
To make the lower lip look like it is protruding you will need to add shading underneath it. This shade will make the lower lip pop from the page.
STEP 22
STEP 23
I shade the moustache area although the beard looks white. Leaving it too light will make the beard look unnatural.
Using the smudge sticks tip I use in the direction the hair grows. This helps to lessen the work I need to do when drawing the moustache.
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STEP 24
STEP 25
Here I have added more lines with the pencil and blend these too into the moustache. Look at how I kept the darker parts to the lower parts where the moustache touches the upper lip.
Using a mechanical eraser I erase the lighter parts of the moustache. I sharpened the tip of the eraser before I start drawing in reverse.
STEP 26
STEP 27
Now I start adding the fine detail to the moustache. Do not try to draw each and every little hair. I also focus more on the shadows between the hair than drawing the hair itself.
Like with the moustache I shade and smudge the beard to get rid of the stark white paper. This grey will give us a nice base to draw in reverse.
STEP 28
STEP 29
Using the grey base I draw the lighter beard with the mechanical eraser. I try to make the beard look a bit erratic and avoid to create a pattern. The worst thing to do with beard and hair is to make the lines too straight.
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I do as I did with the moustache and focus my attention on the space in-between the hair. In most cases you seldom try to draw the hair, but rather the spaces between the hair.
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STEP 30
STEP 31
Here I shade the hair on top of his head. This step should now be familiar. Remember to keep drawing lightly because smudging will make the graphite appear darker.
Smudging as usual. The more you use the smudge stick the more dirty it will become. This is not a bad thing, I actually prefer a deeply darkened smudge stick. To get it that dark will require a few drawings or even pre-loading it by drawing on a separate piece of paper and rubbing the smudge stick till it is loaded enough. A well loaded smudge stick can sometimes be used without adding graphite to the paper.
STEP 32
STEP 33
Using the mechanical eraser can be great fun, but also frustrating at times. If you do not have a mechanical eraser remember that a knead-able eraser will do the same work. Pinch the tip into a blade like shape and run the edge where you want the hair to be.
Here you can see how much reverse drawing I did with the mechanical eraser. This will create a nice base for drawing the next step in drawing hair.
STEP 34
STEP 35
Back to the pencil. Carefully draw the spaces between the hair. Look for darker areas within the dark areas.
Shade the ear, look where it is darker and keep the ridges light. Be careful not too shade too dark.
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STEP 36
STEP 37
As per usual use the smudge stick to shade. Avoid using your fingers to smudge. Humans have a bit of oil residue on the skin and this will embed the graphite in the paper and will be much harder to remove with erasers.
I use the knead-able eraser to lift the highlights on the ear. If you accidentally erase too much add graphite and repeat the process till you get the desired result.
STEP 38
STEP 39
Using the smudge stick inevitably always lightens the darkest areas. I draw deeper shades back and smudge lightly not to remove too much graphite again.
You can see how do the smudging very lightly.
STEP 40
STEP 41
I shaded the neck quite dark and used the mechanical eraser to lift the beard in the shadow areas lightly. If you lift too much smudge it a bit make it darker again.
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We are nearly finished. The shirt is white, but even here I like to make it a bit grey. I add shading to the darker areas.
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STEP 42
STEP 43
Smudging the shirt should be treated almost like the skin. I use circular motions to smudge this area to avoid streaks.
Nearly done. I use a 6B for the tuxedo to make it as dark as possible. Be careful not jump between too many pencil grades. Using a 4B and 6B should be fine, but using a 2B and 6B will cause a bit of a big jump between grades and make it hard to blend between shades.
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The realistic ballpoint pen drawings of Juan Francisco Casas Juan Francisco Casas is a spanish artist and poet who creates stunningly realistic images with only the use of a Pen. His subjects in that case are young women taking Selfies. He is considered one of the more influential young painters in Spain. Casas recreates photographs he’s taken as large scale oil paintings on canvas, as well as similarly scaled drawings using only blue ballpoint pens. It all started nine years ago, when he began reproducing photos of nights out with his friends, and he liked it so much that he never gave it up. His amazing works, measuring up to 10 feet high, take up to 14 ballpoint pens and up to two weeks to complete, but the final result is absolutely mind blowing. The only drawback of the ballpoint pen is that errors can’t easily be erased, so Juan tries to be extremely careful, especially towards the final stages of the drawing process. 34-year-old Casas, from Spain, was originally a traditional painter, but started experimenting with the ballpoint pen as a joke, just to see if he could draw something so realistic people would think it’s a photo. It all started six years ago, when he began reproducing photos of nights out with his friends, and he liked it so much that he never gave it up. The joke eventually turned into a quest to show that “it’s not about what material you use, it’s what you do with it.” About the artist: Juan Francisco Casas Ruiz, born in La Carolina, Jaén, Andalusia in 1976, graduated with a B.A. and a M.F.A. from the University of Granada. He subsequently completed his PhD at the university in 2004, while also holding a teaching position there. During his studies he won the National Award of the Ministry of Education and Science for the best graduate qualifications in Spain,presented by Culture Minister Pilar del Castillo https://www.designfather.com/hyperrealistic-artby-juan-francisco-casas/ https://www.quora.com/q/youarts/The-realisticballpoint-pen-drawings-of-Juan-Francisco-Casas .
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Juan Francisco Casas Ruiz graduated with a B.A. and a M.F.A. from the University of Granada. He subsequently completed his PhD at the university in 2004, while also holding a teaching position there. During his studies he won the National Award of the Ministry of Education and Science for the best graduate qualifications in Spain, presented by Culture Minister Pilar del Castillo.
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Since 2000, he has exhibited his work at museums all around the world, like the Museum Kunsthalle der HypoKulturstiftung in Munich, Kunsthalle Emden (Germany), the Kunsthal Rotterdam (Netherlands), the Cube Museum Seongnam Arts Center, Seongnam, (South Korea), the Da2 Museum in Salamanca and the ARTIUM in Vitoria (Spain). He represented Spain at the 2nd Prague Biennale (curated by Flash Art Magazine and Giancarlo Politi) and has received numerous international awards: Prize of the Royal Academy of Spain in Rome, the ABC Painting Prize and the Scholarship of the College of Spain in Paris. He has published poetry books and curated exhibitions with artists such as Joseph Kosuth and Nobuyoshi Araki. His work can be found in the Artium Museum, Vitoria, Museo ABC, Madrid, Collection of the Ministry of Foreign Affairs of Spain, Collection of the Royal Academy of Spain in Rome, Absolut Collection, etc. .
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10/02/2008 SARAJEVOSURPRISEATTACK#1
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04/02/2009 Trineafterhours
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01/03/2010 GIULIAAFTERHOURS#2
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Hyperrealistic Art by Juan Francisco Casas
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10/09/2012 DROPPINGAIDA
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Creative Lunchbox recipes
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Monster Sandwiches Your children will be shocked and excited to see that there’s a monster in their lunch box. How cool! Make these sandwiches for a spooky Halloween party, too! Ingredients 2 slices whole-wheat bread 1 slice sharp cheddar cheese 2 slices sandwich ham 2 pimento-stuffed green olives Mustard (optional) Toothpicks Round cookie cutter Instructions Cut bread slices with the circle cookie cutter. Spread mayonnaise or mustard on the bread. With a knife, cut little triangles out of the edges of the cheese to resemble teeth. Lay the lunch meat on the bottom of the sandwich, followed by the cheese and top slice of bread. Insert toothpicks into the side of two green olives and stick into the top of the sandwich. Serve!
Ham and Mac and Cheese Lunchbox Muffins Ingredients: • 2 cups prepared Mac & Cheese (fresh works best...after it is well cooled) • 2 large eggs, beaten • 1 cup diced ham • 1/4 cup bread crumbs + 2 tablespoons I like to use leftovers for this recipe. We have busy nights on Tuesdays, so I’ll make a quick meal of macaroni and cheese, carrot sticks, and some fruit for my kids. There’s usually the right amount of mac and cheese leftover from that to prepare these muffins with...and then I’m all set for lunches for Wednesday and Thursday.
Directions • Combine macaroni and cheese with eggs, ham, and 1/4 cup bread crumbs. Stir until well combined. • Spray eight openings in a muffin tin with non-stick spray. • Use an ice cream scoop to add 1/2 cup of mixture to each cup. • Gently press mixture down with your fingers to flatten it into each cup. • Sprinkle with additional bread crumbs. • Bake in at 180 for 20-25 minutes...depending on how soft or firm you prefer your muffins. • Immediately remove from cups to cool on a wire rack. Refrigerate after 30 minutes of cooling.
https://www.happinessishomemade.net/school-lunch-ideas-for-kids/
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Freezer Pizza Bites Ingredients • 1 pound pizza dough, whole wheat • 1/2 cup pizza sauce • 110 grams mozzarella cheese Toppings • 1/2 cup pineapple • 1/2 cup, chopped bell pepper, green • 1/2 cup, pieces or slices mushrooms, white • 1/2 cup black olives, canned • 30 grams pepperoni • 1/2 cup, chopped onion Instructions 1. Make whole wheat pizza dough. 2. Let the dough rise until double in size. 3. Roll out very thin – about 1/4 thick. 4. Use the circle part on the back of the press to cut out circles. 5. Stretch the circle on top of the press. 6. Use about 1 teaspoon of pizza sauce on the small circle. 7. Fill with your favourite toppings. 8. Press the dough and place on a pizza stone or baking sheet. If you use a baking sheet, spray with cooking spray or a bit of oil first. 9. Bake at 200 degrees celsius for 10-11 minutes or until golden.
HOTLINE
https://www.superhealthykids.com
Pizza Pancakes Ingredients • 2 cups Biscuit/Baking Mix • 2 tsp. Italian Seasoning • 2 Eggs • 1 cup 2% Milk • 1/2 cup Part-Skim Mozzarella Cheese shredded • 1/2 cup Pepperoni chopped • 1/4 cup Cherry Tomatoes chopped and seeded • 1/4 cup Green Peppers chopped • 1 cup Pizza Sauce warmed
Instructions 1. In a bowl, combine biscuit mix and Italian seasoning. 2. In another bowl, whisk eggs and milk until blended. Add to dry ingredients, stirring until moistened. 3. Stir in the cheese, pepperoni, tomatoes, and peppers. 4. Preheat griddle to medium heat and lightly grease. 5. Pour batter by 1/4 cupful’s onto griddle; cook until bubbles on top begin to pop and bottoms are golden brown. Turn, cook until second side is golden brown. 6. Serve with warm pizza sauce for dipping. https://www.superhealthykids.com
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A true artist is not one who is inspired, but one that inspires others - Salvador Dali
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Salvador Dalí, in full Salvador Felipe Jacinto Dalí y Domenech, (born May 11, 1904, Figueras, Spain—died January 23, 1989, Figueras), Spanish Surrealist painter and printmaker, influential for his explorations of subconscious imagery.
As an art student in Madrid and Barcelona, Dalí assimilated a vast number of artistic styles and displayed unusual technical facility as a painter. It was not until the late 1920s, however, that two events brought about the development of his mature artistic style: his discovery of Sigmund Freud’s writings on the erotic significance of subconscious imagery and his affiliation with the Paris Surrealists, a group of artists and writers who sought to establish the “greater reality” of the human subconscious over reason. To bring up images from his subconscious mind, Dalí began to induce hallucinatory states in himself by a process he described as “paranoiac critical.” Once Dalí hit on that method, his painting style matured with extraordinary rapidity, and from 1929 to 1937 he produced the paintings which made him the world’s best-known Surrealist artist. He depicted a dream world in which commonplace objects are juxtaposed, deformed, or otherwise metamorphosed in a bizarre and irrational fashion. Dalí portrayed those objects in meticulous, almost painfully realistic detail and usually placed them within bleak sunlit landscapes that were reminiscent of his Catalonian homeland. Perhaps the most famous of those enigmatic images is The Persistence of Memory (1931), in which limp melting watches rest in an eerily calm landscape. With the Spanish director Luis Buñuel, Dalí made two Surrealistic films—Un Chien andalou (1929; An Andalusian Dog) and L’Âge d’or (1930; The Golden Age)—that are similarly filled with grotesque but highly suggestive images.
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The importance of imagination by Judy Nemeth How often have we heard the words, “Stop dreaming and just listen to what I am telling you”? They are usually directed towards a child who seems to be daydreaming, and uttered by either a parent or a longsuffering teacher. Childhood is where imagination has its starting point and serves many purposes. Fantasy is part and parcel of being a child, and it wasn’t by sheer luck that fictional characters such as those found in children’s cartoons have made fortunes for their inventors. Walt Disney knew what he was doing when he created Mickey Mouse, and the rest is just history! Children love to immerse themselves in the often crazy and exciting adventures experienced by their favourite characters. Some of them can fly, whilst others have magical powers. What child would not want to escape into a world where home and classroom rules and regulations seem to be nonexistent? For many children, having a vivid imagination can be a way for them to survive unhappy or difficult situations in the home and, as long as it doesn’t manifest itself in serious behavioural problems, it would seem to be a natural coping mechanism. Invisible friends can be comforting for a child who has no siblings, or even if they do, they may have older children who exclude the younger one from joining in their games. Being able to escape, for instance under the dining room table or up in a tree, to spend time chatting to this “friend” should never be a form of behaviour which is used to ridicule the child. Far better to go along with accepting the existence of this added member of the family. This stage usually is short lived so, setting an extra place at the supper table for the “friend”, or even having to go as far as pushing an empty swing which is occupied by the “friend” could be the best way of handling it!
Imagination is the foundation of creativity, and it can manifest itself in various ways such as painting, sculpting, writing, playing a musical instrument or learning to dance. Without it the world would be a very dull, uninspiring place for all of us. From birth, parents can foster a baby’s imagination through the choice of the toys they make available as well as constantly talking to the child and reading stories about little animals or other fictional characters who have lifelike abilities such as being able to talk and behave like a human. To deprive a child of having a vivid imagination is tantamount to clipping the wings of a bird to prevent it from flying away. Imagination must rank up there amongst one of the most important survival tools for many people the world over. Reality can sometimes be very difficult to cope with, and being able to lose oneself, even for a brief time, in fantasising or creating something artistic can make the real world a somewhat easier place in which to live. Parents or caregivers can assist in fostering the child’s ability to utilize their imaginative abilities by providing them with the necessary tools. Whether this is by giving them the necessary crayons, paints and paper to create works of art, offering them the opportunity to learn to play a musical instrument, or encouraging them to read more and more suitable books, all are ways in which greater imagination may be developed.
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STAEDTLER Ambassadors
I specialize in realistic charcoal drawings. Pages 36 : 117
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Sihle Bruce Mthembu I am Bruce Sihle Mthembu. I am originally from Esikhawini but I am currently residing in Durban. I started drawing when I was 7 years old. In 2017 I decided to immensely indulge myself in drawing. The main reason why I love drawing is that it keeps me calm, I haven’t been able to capture that calmness in my drawings yet. But I am looking forward to making work that resonate with people.
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STAEDTLER Ambassadors The only advice I can give to young artists is that, they must not concede defeat when practicing drawing. It gets frustrating sometimes, but there is beauty after all the frustration. Someday I hope to host drawing workshops, and teach people how to draw. My dream is to exhibit my work locally and internationally, with other great artists. And also to make a living out of my craft. I wish that this opportunity of being one of your ambassadors opens doors for me. I am a free-spirited person, I am a child at heart, I love playing video games, watching cartoons and laughing. My hobbies are dancing and drawing, but since I started school in 2018, I have not been able to carry on with my hobbies. I love nature because every time I am feeling down, I visit nature to lift up my mood. I am passionate about drawing because I love it. I am confident in my ability to produce my work. I am someone who is always focused on self -growth. I take time, learning myself directly and indirectly. I have vision for success, and I am willing to work hard to become successful. Drawing has taught me how to be patient and calm, even in stressful situations. I have a high concentration span and I pay attention to even the smallest things. I am the most reliable person I know, I set goals for myself and attain them. I always make sure that I do not let myself down, I try to stay positive almost all the time. I do not let minor things get to me or ruin my day. I am enthusiastic, I can work well with people who are striving for learning and continuous growth. I am collaborative and really enjoy working as part of a team. I am a perfectionist. I like to keep things neat and highly organized. I love people and I am able to communicate with them. I am introverted by nature and I’m slowly working on it, by trying to interact more with people. I am always looking for an opportunity to achieve great things and to do better. Most of the time I cannot relax because I feel like I am wasting time, I spend most of my time creating or learning a new skill.
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Sihle Bruce Mthembu
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Art, Craft & Design
STAEDTLER Ambassadors
All images: Original artwork Sihle Bruce Mthembu Pages 40 : 117
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Sihle Bruce Mthembu
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STAEDTLER Ambassadors
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Sihle Bruce Mthembu
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Contact details Cellphone number: 0662668988 Email: brucemthembu101@gmail.com Pages 44 : 117
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Sihle Bruce Mthembu All images: Original artwork Sihle Bruce Mthembu
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Safety in one’s day to day life by Judy Nemeth The world in which we find ourselves can often appear to be overpowering for parents as well as care givers when the safety of children is considered. One wants to keep them away from danger without making them nervous and fearful and afraid to try new things. There has to be a balance, and this is not easy to achieve. No-one can watch another person 24/7 and, even if one could, it would be a very negative way of living. Freedom to make choices of one’s own, and to experiment, are factors which those of us who live in a relatively free society value and hold dear and critical to healthy childhood development. From the time that a child can begin to understand instructions, it is important that they be taught not to blindly trust strangers and to shout and call for help if they feel threatened by anyone, even if it is a close friend or family member. Child molestation as well as human trafficking are extremely frightening events taking place worldwide which need to be acknowledged and prevented at all costs. It is impossible to wrap a child in a blanket and keep them safe for their entire life, but constantly reinforcing some basic rules may be the best foundation for a safe childhood. It is critical to teach a child that anything which makes them feel uncomfortable should be reported to either a parent or a teacher before any serious harm is done. There are videos on social media which show techniques which children can use to prevent a possible kidnapper from being able to move if they try to grab them. The information given and the demonstration shown could be practised by the parent together with their child. There are also books available which can be used to explain sensitive issues to children and these could be used in cases where a parent or guardian may have difficulty in broaching a certain subject, such as molestation. Safety in the home involves keeping medicines or potentially dangerous cleaning materials, as well as sharp knives or firearms locked up and well out of harms way. There is absolutely no excuse for a child drinking poison due to a parent or care giver’s negligence. The same applies to a firearm being found in a cupboard or on a shelf and used in a game which results in the shooting of a playmate. Entrances to staircases need to be closed with a safety gate once babies begin to climb, to avoid nasty accidents. Unused plug sockets should have blockers installed to prevent metal items being pushed into the holes by inquisitive little people. Children need to be safely strapped into high chairs and prams, and restrained when travelling, by the use of a good car seat. As they grow taller, then a booster seat can allow for the vehicle’s normal safety belt to be used. No child should ever be unrestrained when travelling in a car. From the moment they are mobile children should never be around pools or ponds without adult supervision and they should wear inflatable armbands at all times in case they fall in. The best solution is to teach them to swim as soon as possible. Even then, it is necessary to keep an eye on pool time to avoid calamities. From the above it probably feels that becoming a parent can be a rather daunting prospect, but just using common sense and taking care is what it’s all about.
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IF I COULD BE
FOR A DAY
WIN CASH PRIZES 1st Prize R3 000CASH | 2nd Prize R1 500 | 3rd Prize R 500 PRIZES CLOSING DATE 31 DECEMBER 2020 - Ts & Cs APPLY ST
R3 000; R1 500; R500 UP FOR GRABS! CLOSING DATE 31ST DECEMBER 2020 - Ts & Cs APPLY
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Write a story on what you would do if you could be President for a day. It can be funny or really serious! Enter by e-mailing us your entry at info@trendforward.co.za. If I could be President for a day Competition T&Cís
1. The competition is open to all South African citizens except directors, members, partners, employees, agents, service providers and consultants of STAEDTLER South Africa as well as their spouses, life partners, immediate family members, business partners and associates referred to as ‘The Organisers’. 2. The competition closing date will be at the discretion of the organisers, but no later than 31 December 2020 at midnight (12pm). 3. In order to enter the STAEDTLER President Competition, you have to write a story on what you would do if you could be President for a day. It can be funny or really serious! Enter by e-mailing us your entry at info@trendforward.co.za. 4. All ages are allowed to participate. 5. Any late entries received will not be taken into consideration. 6. The competition sponsors and/or their advertising agents will contact the winners ONLY, via telephone, email or a Facebook inbox message. Winners who are not contactable by telephone within 7 (seven) days after the closing date will be disqualified and a new winner will be drawn and contacted. 7. STAEDTLER, and their agents, accept no responsibility for any problems or technical malfunction of any communication network or any late, lost, incomplete, misdirected, incorrectly submitted, delayed, illegible or corrupted entries. STAEDTLER, and their agents are not liable for any costs incurred, responses received, or any other consequences of user error. 8. The competition shall result in a prize of the following: First prize – R3000, Second prize – R1500 and Third prize – R500. 9. The judges’ decision is final, and no correspondence will be entered into. STAEDTLER, and their agents will not be held responsible for any disputes arising from the competition or prize rewarded. 10. Winners shall use the prize at their own risk. STAEDTLER, and their agents shall not be liable for any loss, damage, personal injury or death that is suffered or sustained (including but not limited to that arising from any person’s negligence) in connection with this competition or accepting or using the priz 11. STAEDTLER, and their agents reserve the right to cancel, modify or amend the competition at any time, if deemed necessary in its opinion, and if circumstances outside of their control should arise 12. By entering you agree that STAEDTLER can publish the winners’ name/s, photograph and entry in any printed, digital media, or any other relevant promotional media. 13. The risk in the prize shall pass to the winner, once possession thereof has been taken. 14. Entry into the competition implies the acceptance of the above.
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Art, Craft & Design
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The colour yellow is associated with warmth, happiness, fun, friendship, caution and electricity. But what facts do we know about this colour? Yellow is a primary colour, along with red and blue. The word yellow comes from the Old English word geolu.
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MIMOSA
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Pink, a delicate colour that means sweet, nice, playful, cute, romantic, charming, feminine, and tenderness, is associated with bubble gum, flowers, babies, little girls, cotton candy, and sweetness. The colour pink is the colour of universal love of oneself and of others. ... Both red and pink represent love
PINK PANTHER PINK
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Orange is the colour between yellow and red on the spectrum of visible light. Human eyes perceive orange when observing light with a dominant wavelength between roughly 585 and 620 nanometres. In painting and traditional colour theory, it is a secondary colour of pigments, created by mixing yellow and red
ORANGE JUICE
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Blue is one of the three primary colours of pigments in painting and traditional colour theory, as well as in the RGB colour model. It lies between violet and green on the spectrum of visible light. The eye perceives blue when observing light with a dominant wavelength between approximately 450 and 495 nanometres.
BLUE CARACAO
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Create a poster against violence. It can be in any STAEDTLER medium. Enter by posting your poster on our Facebook Page or Instagram Page with the hashtag #no. Say NO to violence Competition T&Cís 1. The competition is open to all South African citizens except directors, members, partners, employees, agents, service providers and consultants of STAEDTLER South Africa as well as their spouses, life partners, immediate family members, business partners and associates referred to as ‘The Organisers’. 2. The competition closing date will be at the discretion of the organisers, but no later than 31 January 2021 at midnight (12pm). 3. In order to enter the STAEDTLER NO Violence competition, you have to create a poster against violence. It can be in any STAEDTLER medium. Enter by posting your poster on our Facebook Page or Instagram Page with the hashtag #no. 4. All ages are allowed to participate. 5. Any late entries received will not be taken into consideration. 6. The competition sponsors and/or their advertising agents will contact the winners ONLY, via telephone, email or a Facebook inbox message. Winners who are not contactable by telephone within 7 (seven) days after the closing date will be disqualified and a new winner will be drawn and contacted. 7. STAEDTLER, and their agents, accept no responsibility for any problems or technical malfunction of any communication network or any late, lost, incomplete, misdirected, incorrectly submitted, delayed, illegible or corrupted entries. STAEDTLER, and their agents are not liable for any costs incurred, responses received, or any other consequences of user error. 8. The competition shall result in a prize of the following: First prize – R3000, Second prize – R1500 and Third prize – R500. 9. The judges’ decision is final, and no correspondence will be entered into. STAEDTLER, and their agents will not be held responsible for any disputes arising from the competition or prize rewarded. 10. Winners shall use the prize at their own risk. STAEDTLER, and their agents shall not be liable for any loss, damage, personal injury or death that is suffered or sustained (including but not limited to that arising from any person’s negligence) in connection with this competition or accepting or using the prize. 11. STAEDTLER, and their agents reserve the right to cancel, modify or amend the competition at any time, if deemed necessary in its opinion, and if circumstances outside of their control should arise. 12. By entering you agree that STAEDTLER can publish the winners’ name/s, photograph and entry in any printed, digital media, or any other relevant promotional media. 13. The risk in the prize shall pass to the winner, once possession thereof has been taken. 14. Entry into the competition implies the acceptance of the above.
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Clients include Universal Music, Glastonbury Festival, Sony, The Big Issue, JLR, Elton John AIDS Foundation, Humane Society, Prospect Magazine
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Lizzie Campbell Clay artist & Illustrator
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Whatís Clay Disarray? Although I use Clay Disarray as a pseudonym, it’s really the name of my studio. It’s full of boxes of polymer clay, tools, props and other various bits of paraphernalia, so it’s a right old nightmare to keep tidy. Why polymer clay? As an illustrator, I’ve experimented with different drawing styles and mediums over the years, but I’ve always struggled in trying to come up with a style that felt uniquely my own. I discovered air-drying clay at a workshop while at art school, and I was immediately drawn to its potential for image making. I soon bought some polymer clay and I loved how I was able to create cartoon characters with much cleaner lines than traditional clay. So, after a LOT of experimentation in getting to know and understand the material, Clay Disarray was born!
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What materials and tools do you use? For around the last five years I’ve used FIMO ® Professional coloured polymer clay for the majority of my projects, but I’m also experimenting with Kato Polyclay as it’s a good cruelty-free alternative, although it can be tough on the hands. I use a Nikon DSLR for photography, and good old Adobe Photoshop for any digital magic on my illustration work. How long does a model take to make? Although my sculptures look pretty simple in design, don’t let that fool you! A full body sculpt will always take at least a full day to make, and in some cases up to three days. It all depends on the amount of detail involved, its body position, and whether I’m trying to capture a likeness. Each model also goes through a number of baking procedures, so there’s always a deceptively long process going on behind the scenes. Pages 61 : 117
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Where did you study? I went to Warwickshire School of Arts in Leamington Spa, followed by Birmingham Institute of Art & Design, where I attained a BA (Hons) in Visual Communication, specialising in illustration. Whatís your inspiration and influences? As well as movies and music, I also enjoy looking at an array of art, illustration, sculpture and animation as I’ve a bit of an eclectic taste. There are so many brilliant artists out there whose work I admire, and I love nothing more than going to galleries to gain a little inspiration. Resource https://www.claydisarray.co.uk
ìFor around the last five yea rs Iíve used FIMO Æ Professional coloured polymer clayî
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Simply take creative photos of your STAEDTLER stationery and send the photos via WhatsApp to ph.071 676 9455. Pages 68 : 117
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I love STAEDTLER Competition T&Cís 1. The competition is open to all South African citizens except directors, members, partners, employees, agents, service providers and consultants of STAEDTLER South Africa as well as their spouses, life partners, immediate family members, business partners and associates referred to as ‘The Organisers’. 2. The competition closing date will be at the discretion of the organisers, but no later than 28 February 2021 at midnight (12pm). 3. In order to enter the STAEDTLER I love STAEDTLER competition, you have to take creative photos of your STAEDTLER stationery and send the photos via WhatsApp to ph.071 676 9455. 4. All ages are allowed to participate. 5. Any late entries received will not be taken into consideration. 6. The competition sponsors and/or their advertising agents will contact the winners ONLY, via telephone, email or a Facebook inbox message. Winners who are not contactable by telephone within 7 (seven) days after the closing date will be disqualified and a new winner will be drawn and contacted. 7. STAEDTLER, and their agents, accept no responsibility for any problems or technical malfunction of any communication network or any late, lost, incomplete, misdirected, incorrectly submitted, delayed, illegible or corrupted entries. STAEDTLER, and their agents are not liable for any costs incurred, responses received, or any other consequences of user error. 8. The competition shall result in a prize of the following: First prize – R3000.00, Second prize – R1500.00 and Third prize – R500.00. 9. The judges’ decision is final, and no correspondence will be entered into. STAEDTLER, and their agents will not be held responsible for any disputes arising from the competition or prize rewarded. 10. Winners shall use the prize at their own risk. STAEDTLER, and their agents shall not be liable for any loss, damage, personal injury or death that is suffered or sustained (including but not limited to that arising from any person’s negligence) in connection with this competition or accepting or using the prize. 11. STAEDTLER, and their agents reserve the right to cancel, modify or amend the competition at any time, if deemed necessary in its opinion, and if circumstances outside of their control should arise. 12. By entering you agree that STAEDTLER can publish the winners’ name/s, photograph and entry in any printed, digital media, or any other relevant promotional media. 13. The risk in the prize shall pass to the winner, once possession thereof has been taken. 14. Entry into the competition implies the acceptance of the above.
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The pros and cons of technology for children by Judy Nemeth
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For many years now we have seen how children from a very young age are totally at home with the use of gadgets such as remote controls, mobile phones, laptops and i-pads. It almost appears as though they are born into this world with an “on� switch which allows them to become baby techno wizards. This has been disconcerting for many older people who find it a constant battle to keep pace with the rapidly changing face of technology. The fear of being left behind in this techno savvy world can be very worrying, especially if one has children relying on modern technology as part of their education and, as parents, there may be a need to give assistance. Developmental experts have raised the concern that the constant use of their mobile phones has caused children to become more and more socially isolated. They chat on their phones, send messages and photos, link up via various social media formats such as Facebook, Instagram and Twitter to name a few, yet their social skills often appear to be lacking. The days of going to visit your friends in order to spend time together are often no longer happening. What has taken its place is a rather worrying situation. A lot of bravado, bragging and even bullying takes place whilst being on- line with a vast number of so-called friends. The result has often seen children feeling inadequate and a failure, sometimes to the point of them having attempted suicide. The fact that parents are often totally unaware of who their children are interacting with whilst using their phones or computers can be dangerous. It is easier to discourage undesirable friendships if parents actually meet the friends in question. It is great that parents are able to contact their offspring via mobile phones, especially in cases of emergency, but a check does need to be done from time to time to see just what children are doing on their phones. The downside of technology is the readily available undesirable material which can be downloaded and viewed way too easily. Covid 19 has brought with it many challenges, and none more so than within the education system. Teachers and students alike were forced to adapt to a completely new way of teaching, and parents were expected to assist as much as possible. Suddenly the importance of technology became evident, but the problem came in where the home situations varied considerably due to economic factors as well as varying educational levels of parents or caregivers. For those who had home computers and access to the internets whether via data or Wi-Fi, zoom lessons and regular distance interaction with teachers allowed for relatively normal learning. In many cases homes were equipped for this change in teaching methods as parents were self-employed and already running businesses from home. However, for poorer families, children had to battle along with limited access to the necessary tools. Public libraries which often had the technology in place to assist the students were now forced to close due to the virus. It is quite clear that technology is going to constantly be changing and children will take it in their stride. No-one is going to be able to turn back the clock to the days where children played outside until it became dark, visited their friends after school and had to ask permission to use the family phone in order to call a friend to have a chat. Playing games usually involved a few other children but that isn’t the way it is any more. There are poorer communities where outdoor playing is still the norm, but sadly technology has changed many lives for ever. If one considers the pros and cons, then time saving, keeping in touch and being able to retrieve information instantly via search engines such as google have to be weighed up against the bombardment of unnecessary garbage which is readily available on line. There is also the fear of a child becoming a target for undesirable on-line predators through signing up on a chat room. Once again, the importance of parental control is even more critical in this technological world than it has ever been in the past. Pages 71 : 117
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COLOUR IN AND FIND 10 DIFFERENCES
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WHAT IS DIFFERENT IN THESE 2 IMAGES?
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JOIN THE DOTS AND COLOUR IN
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HELP THE SNOWMAN OUT THE MAZE
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JOIN THE DOTS & COLOUR IN
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TUTORIAL HOW TO DRAW SIMBA FROM THE LION KING COURTESY OF http://www.supercoloring.com/drawing-tutorials/how-to-draw-simba-from-lion-king
GRID STEP draw the grid layout yourself using the following steps‌ 1) Draw a rectangle that will define the conditional proportions and boundaries of the chosen drawing. 2) From the middle of the rectangle, draw one vertical and one horizontal line equally dividing the shape. 3) Draw another horizontal line equally dividing the upper half of the rectangle. Similarly, draw a horizontal line equally dividing the bottom half of the rectangle. 4) Draw a vertical line equally dividing the left half of the rectangle. Similarly, draw a vertical line equally dividing the right half of the rectangle.
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STEP 1 Mark off the width and height of the picture. Draw two ovals for Simba’s head and body. Draw a line, which will act as the center of his head.
STEP 2 Draw the shape of the lion’s body and neck. Add a smooth guideline for his tail.
STEP 3 Use guidelines to define places for Simba’s legs, feet, ears and snout.
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STEP 4 Sketch the legs, feet, ears and snout of the lion.
STEP 5 Add Simba’s toes, tail, mane and nose.
STEP 6 Detail Simba’s nose and hair tuft. Carefully sketch his mane and eyes in more detail. Pay attention to the pattern on his feet.
STEP 7 Work on the whole figure, paying special attention to detail.
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TUTORIAL HOW TO DRAW DONALD DUCK COURTESY OF http://www.supercoloring.com/drawing-tutorials/how-to-draw-simba-from-lion-king
GRID STEP You can print out the base construction lines and start drawing on tracing paper or you can draw the grid layout yourself using the following steps‌ 1) Draw a rectangle that will define the conditional proportions and boundaries of the chosen drawing. 2) From the middle of the rectangle, draw one vertical and one horizontal line equally dividing the shape. 3) Draw another horizontal line equally dividing the upper half of the rectangle. Similarly, draw a horizontal line equally dividing the bottom half of the rectangle. 4) Draw a vertical line equally dividing the left half of the rectangle. Similarly, draw a vertical line equally dividing the right half of the rectangle.
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STEP 1 Mark off the width, height and main proportions of Donald’s figure. Draw an oval for the character’s head, and a centre line.
STEP 2 Draw the shapes of his body and neck. Using an oval, show the shape of the hat.
STEP 3 Add guidelines for the legs, wings, the centre line of the beak, and Donald’s eyes and eyebrows. Pages 87 : 117
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STEP 4 Outline the thighs, shapes of his wings, beak, and hat base.
STEP 5 Sketch Donald’s feet, tail, sailor’s jacket, the crown of his hat, and eyes. Detail the shapes of hiss wings and beak.
STEP 6 Add a bow knot on the sailor’s jacket, a ribbon on the hat, and Donald’s eye pupils, eyebrows, and tongue. Refine the shape of the sailor’s jacket.
STEP 7 Work on the whole figure, paying special attention to the details.
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STEP 8 Contour the figure, trying to vary the thickness and darkness of the line. Draw the details carefully and add the ground. Erase all the guidelines.
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SIYANDA NGUBANE
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ABOUT MYSELF My name is Siyanda Ngubane known as “Siyanda_nkosimbheke”, a selftaught artist specialising in realism. I was raised by my grandmother in KZN after losing both my parents at a very young age. I am currently doing my diploma in civil engineering at UNISA, I have great passion for art and construction. I do portrait commissions, landscape commissions and 3-D drawings. My artworks are inspired by simplicity and intellect. I started drawing in primary school and I discovered my talent through the competitions we would have with my friends because during break-times or free periods we would challenge each other, get a certain picture, start sketching it and let those who are not participating judge. From then I always treated my talent as a hobby, I never took it seriously until I joined a group called the YPG (Youth Power Group) specialising in helping young people deal with daily life challenges, after the mentors in the group had seen my artworks I was rebuked for treating my talent as a hobby. It was then that I realised my talent was actually a gift from God and I was meant to use it to change people’s lives and I began to sell my artworks and pass the skill to those who are willing to learn. For one year in 2017 I volunteered to teach old people at a school in Soweto and I can say that I’m proud of how quick they were learning and adapting but unfortunately because of time I had to quit my classes with them. More than making an income through art I want to give hope and change people’s lives. I have not yet reached the level I want to reach but I’m positive that I’m heading towards the right direction. Pages 91 : 117
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SIYANDA NGUBANE MY WISH I wish to see visual-art in our country being treated as all other forms of art like music, acting etc and given equal attention and public platforms like TV shows. ADVICE TO YOUNG ARTISTS The art industry has a lot of challenges and difficulties you need to be passionate and love your work, eventually people will also love your work. Grow some thick skin because you are also going to face criticism and negativity. Above all work hard and have fun.
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SIYANDA NGUBANE
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All images: Original artwork Siyand Ngubane
CONTACT DETAILS Email : syandajay@gmail.com Cell No : 084 515 5355 Facebook : Siyanda_nkosimbheke Instagram : @siyanda_nkosimbheke
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TUTORIAL WITH RIAAN MAKING A SANTA OUT OF FIMO
This is a very cute Santa to make and should be relatively easy to sculpt. It can be used as a decorative piece on a Christmas tree or gift parcel. It can also be used to keep the kids busy by hiding it and let them have a treasure hunt. Who ever finds it can get their gifts from Santa first this year. Pages 96 : 117
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Step 01 Roll out a long thin snake and cut it into shorter pieces. Roll these short pieces into spirals that will form Santa’s beard. Make two of the pieces slightly longer at the ends for Santa’s moustache.
Step 02 Form a disc with a skin colour of choice. In my case I mixed a bit of brown and white for Santa’s skin just to experiment a bit. To mix colour by hand roll two snakes of different colours, twist them together and press it into a ball. Roll it into a snake again and twist, then form a ball again. Repeat this till the colours are mixed perfectly.
Step 03 With white add Santa’s brows. Prepare Santa’s hat and trimmings.
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Step 04 Use red FIMO clay and shape it into a triangle. Then attach it to the top of Santa’s head and bend the tip down.
Step 06 Add Santa’s beard, starting from the sides of his head. Place one on each side and keep adding one on each side till you get to his chin. I’ve added a few more just below his lips to give his beard more volume. Pages 98 : 117
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Step 05 Add Santa’s lips using the extra bits of skin colour.
Step 07 Place Santa’s moustache above his lips. Roll two tiny black balls for his eyes and place them close to each other just below his brows. Roll a small ball for Santa’s nose. I’ve made his nose slightly too big, so I had to cut it a bit smaller.
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Step 08 Place Santa’s nose just below his eyes.
Step 09 Prepare the trimming and tassles for Santa’s hat. I have added a bit of yellow to the white so that his beard appear a lot whiter against the rest of him. Then place the trimming above his brows covering it slightly and the tassles on the tip of his hat.
Step 10 Shape small bits of green into leaves and roll three small red balls to create mistletoe. Stick the two leaves into the hat’s trimming.
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Step 11 Add the three small red balls at the centre of the leaves. Then using the sharp ended tool to poke small holes into the balls to finish the mistletoe. Preheat the oven to 110 Degrees Celsius and bake for 30 minutes. Pages 99 : 117
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Keith Haring and His Contributions to Art https://www.designer-daily.com/keith-haring-and-his-contributions-to-art-66874
Born on 14th May in Reading, Pennsylvania, Keith Haring is one of the 20th-century artists who brought various elements of culture into the galleries and museums through his drawings. In most of his drawings, Haring drew his inspiration from locally based techniques such as graffiti and murals. He would create stunning images that portrayed various concerns on the society using a number of artificial colors which would resonate well with the audience. Most of his drawings commented on various issues in the society such as AIDS, drug addiction and issues to do with apartheid. Regardless of how serious the issues were, Haring would incorporate comedy in his drawings with funny cartoons which made his artwork stand out. Since his unfortunate death, Haring has been the subject of several international retrospectives. Haring’s art, with its deceptively simple style and its deeper themes of love, death, war and social harmony, continues to appeal strongly to viewers.
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ItĂs the UNO game you know, now in its second custom Artist edition. This version features the unique brightly-colored pop culture art of Keith Haring ...
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Inspiration from Disney Cartoons As a child, Haring was inspired by the work of Walt Disney, Dr. Seuss, and Charles Schultz. Haring spent most of his time as a child practicing drawing with his father who was an engineer and did cartoon as a hobby. After finishing his high school, Haring attended Ivy School of Professional Art in Pittsburgh but later dropped out of school. However, in 1978, he made a turnaround and went back to school where he joined the School of Visual Arts in New York. Practicing Artwork in New York After moving to New York, Haring immediately befriended great artists such as Kenny Scharf and Jean- Michel Basquiat with whom he shared a number of interests. Together with the other artists, they would organize the art exhibitions in the various clubs which were in downtown and other locations where events such as fashion and music were carried out. Apart from presenting his artwork in the various nightclubs in New York, Haring began using the empty advertising panels which were placed in the station walls to draw art. Most of the arts which he drew on the streets were quickly drawn and they included the dancing figures, large hearts, barking dogs and a flying saucer. From 1980 to 1985, Haring had made hundreds of drawings which attracted a large crowd of the commuters who would stand by to engage with the drawings every time they came across them. ANDY MOUSE
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Keith and Julia ,1986 oil and acrylic on canvas 36 1/4 x 48 1/4 in. (92.1 x 122.6 cm.) Recognition and Success Haring began participating in a number of international art exhibitions which were held in New York. Sometimes he would collaborate with other artists such as William S, Borroughs, Andy Warhol and Grace Jones. He also carried out his first solo painting at Westbeth Painters Space in 1981. The following year, he made another popular exhibition at Tony Shafrazi gallery which would later represent him. Haring also took part in a number of international exhibitions such as Documenta 7, Sao Paulo Biennial and Whitney Biennial. Most of these international events opened up opportunities for him in other fields such as advertising. He was involved in the animation of the Spectacolor billboard in Times Square. He also carried out an advertising campaign for Absolut vodka and created a number of murals worldwide. In April 1986, he began extending his artwork and opened a retail store in Soho where he would sell t-shirts, buttons, and toys which were bearing his images. He called it Pop Shop and the entire painting of the shop was inspired by his artwork. He painted the interior of the office on abstract black on a white mural which created a good artistic environment. Most of the other artists criticized his painting but this did not deter him from doing the best. He was committed in his efforts of making the artwork available for his fans within and outside New York and he received a lot of support from the friends, family, fans, and mentors such as Andy Warhol. In his painting career, Haring did most of the work for the public that conveyed social messages. Between 1982 and 1989, Haring created more than 50 public works which were made available to a number of cities across the world. They would go to various charity organizations and hospitals. Haring also hosted a number of art workshops where he would train children on how they would develop their art skills. He also involved the children in his work. For instance, in 1986, he worked with about 900 children and came up with a mural used during the 100th anniversary of the Statue of Liberty. Other international projects include; a mural of the exterior of Necker’s Children Hospital in Paris in 1987, A mural of the Berlin wall, an anti-drug mural called Crack is Wack displayed along Harlem River Drive in Manhattan. Pages 103 : 117
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HaringĂs Death and Legacy On 16th February 1990 at 31 years old, Keith Haring died of AIDS-related complications. A memorial service was later held on 4th May 1990 at St. John the Divine Cathedral in New York City. Over 1,000 people attended the memorial service. Keith Haring left a legacy and brought a number of changes in terms of presenting messages to the audience. During his short time as an artist, Haring’s work was featured in over 100 solo and group exhibitions. His work also made him be recognized and in 1986 alone over 40 newspaper and magazine articles were written about him. He was also the most sought after artist and he collaborated with a number of artists in giving his fans a number of drawings which inspired them and made them realize the various problems happening in the society. In most cases, the previous generation of artists used conceptual and abstract approaches to present their messages. Haring redefined and in most of his drawings, he presented the message in a simple manner which made it easy for anyone to understand. Haring also made use of a number of public sites which were not previously used. He would draw his messages on the street walls and present his message to a large audience who were mostly commuters. Through his street art, he made many artists to be inspired and take their artwork to the galleries to increase the reach of their message. Even after his death, his works are still seen in a number of prestigious museums in various parts of the world. He had spent most of his time building his career as an international artist and the various charity works which he carried out in another county made him be known. Some of the museums which have his artwork include Museum of Modern Art in New York City and Centre Georges Pompidou located in Paris, France among other areas.
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DANCERS
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Bearbrick Keith Haring #5
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MONTREAUX JAZZ FESTIVAL POSTER
KEITH HARING 2021 CALENDAR
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KEITH HARING - LOVE
KEITH HARING EXHIBITION POSTER
DANCERS Pages 107 : 117
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STAEDTLER AMBASSADORS ABOUT MYSELF I am Michael Lucas, born and raised in KZN. A self taught visual artist. What is the type of art and genre that I specialise in? My art style is based on realism. I specialise in portraits, landscapes and still life subjects. Advise to give young artists? I encourage young artists to keep focused on their artistic goals and to accept criticism as part of learning and development. Hopes and dreams for my art. My 1 wish. My desire is to have my art exhibited and sold worldwide. Tell us a bit more about yourself I was attracted to shapes and dimensions from as early as 4yrs old. Looking back I realise I was born with this talent but never had the opportunity to pursue my artistic potential. I stopped drawing during my school years and closed that chapter completely. Years passed and during a very critical time in my adult life I turned to art as a form of expression and to break free from the destructive influences in my life at that time. In 2001 my journey as an artist was revived, leading me to discover new depths within my style of art. My work displays dramatic shading and vibrant colour. It’s never easy to remain inspired but I hope to continue until I achieve my full potential. One of my highlights was being awarded as the winner of the 2008/2009 Germiston Eisteddfod Exhibition. My work was highly praised by the judges for being of a phenomenal standard. That was one of my crowning motivational moments. Original artwork Michael Linton Lucas Pages 108 : 117
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Michael Linton Lucas
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STAEDTLER AMBASSADORS All images: Original artwork Michael Linton Lucas
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Michael Linton Lucas
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STAEDTLER AMBASSADORS
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Michael Linton Lucas
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Michael Linton Lucas All images: Original artwork Michael Linton Lucas
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All images: Original artwork Michael Linton Lucas
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