Da Vinci’s Greatest Works

There are few people so well known as Leonardo da Vinci, the Italian polymath, scientist, mathematician, engineer, inventor, anatomist, painter, sculptor, architect, botanist, musician and writer – quite a mouthful! 

 

Today we will look at three of his greatest works and why they are considered to be so valuable.

 

The Mona Lisa

 

 

Probably the most famous of all paintings is the Mona Lisa. Although it could never be confirmed, it’s believed in general that the subject of the painting is Lisa Gherardini, a middle-class woman from Florence.

 

Possibly the biggest contribution to the greatness of this painting is the faint, enigmatic smile. Is it sad? Is it sly? Is she hiding a secret?

 

These are just some of the questions that have been asked since the painting came into existence.

 

 The Mona Lisa is considered the first modern portrait and after so many years, we still can’t help but ask; what is she smiling about?

 

 

The Last Supper

 

 

 

 

 

 

The Last Supper is also known as Il Cenacolo and is a mural in Santa Maria della Grazie, a church in Milan. It depicts the well-known scene from the Gospel of John where Jesus and his disciples are having their last supper together and Jesus relayed the news that one of them will betray him.

The mural depicts the disciples’ feelings of anxiety and dismay upon hearing the news in a very perceptive manner. As the first painting to show biblical characters displaying human emotions and behaving like real life people, this mural has made quite the impression.

 

What contributes to the remarkable impact of the mural is the fact that the painting is fascinating in its use of perspective. Nearly every element in the painting is constructed in such a manner that it seems to guide the eye towards Jesus, in the centre of the picture.

 

The Virgin of the Rocks

You might not know that Da Vinci had two paintings that were nearly identical, that was entitled The Virgin of the Rocks. Both paintings show a rocky setting with four biblical characters – the Madonna, the Christ Child, and infant John the Baptist and an angel.

 

The paintings subject is the respect and adoration John the Baptist gives to the Christ Child. Part of what makes this painting so great is that the composition is complex and sophisticated. The figures are grouped together in the shape of a triangle and all gesture toward and look at each other.

 

This is also significant because in the artwork of previous eras, figures in paintings often seemed separate from each other.

 

 

 

Da Vinci was definitely a remarkable artist and his works of art are considered invaluable. Now that you know what makes his work so special, go and have a look for yourself!

 

Written by Marleen Theunissen

Creative Writer at ATKA SA 

Show Me How Tutorial 3 and 4

Today we will learn how to use paper and specialized pens to create gift cards and gift wrappings. First we will create a very special gift card and then we will learn about creating an enveloped gift box.

 

 

Step 1: Start off with the image you’ll be using, cut out. By using your colours of Copex, start colouring your image to suit the style you have chosen. Copex are alcohol-based markers, with a chisel tip on one end and a brush tip on the other. Remember that shading is important in helping to create that 3D-effect.

 

Step 2: Start colouring by adding colour to the parts where shadows are expected, first. This will help in creating layers.

 

Step 3: Make yourself an easel-card. Get an A5 piece of card board, fold it at 15cm and again at 7,5cm. 

 

Step4: Choose your background image and paste it to your easel-card. It doesn’t really matter what type of glue you use, as long as it doesn’t stay tacky after drying.

 

Step 5: You can add extra printed border designs or readily folded ribbons to your card as well as beads and pearls.

 

Step 6: Paste your image on the first fold of your easel-card and decorate it using media of your choice.

 

Step 7: Once all your decorative bits are pasted on your card, you can start working on the base of your card. Paste your background image on the bottom part of the card, with a white strip for your personalized message.

 

Step 8: Paste your top card onto the easel-card to allow for the standing-up of the card.

 

You will now have a lovely stand-up card to use as a gift or greeting card. But you will notice that this card cannot fit into any standard envelope. Next we will take a look at an envelope box, made especially for your gift card.

 

 

Tutorial 4

 

 

Now we will create an envelope box for your card. 

 

 

Step 1: Take a piece of card board and use a scoreboard like that of Martha Stewart. The scoreboard will help you to create folds in the paper without having to use a ruler and risk the paper breaking. 

 

Step 2: Create the folds for your envelope using the scoreboard and the scorer. You should end up with a square in the centre and triangles for the folds that will create the envelope shape.

 

Step 3: Fold all on the lines. Where you get double folds in the corners cut those out.

 

Step 4: Using two pieces of foam stuck together, fill the middle of the envelope using the foam to substitute the density of the card.

 

Step 5: Paste three of the four corners together by using a touch of glue along the ends of the corners.

 

Step 6: Choose an image for your envelope that complements your card and colour it using the same method as you used for the card.

 

Step 7: Prepare some of your background image to the size of the outer flap of your card and paste it flat.

 

Step 8: Paste your image on a backboard with a colour matching your background images and paste the combined image on the corner of the overlapping flap.

 

Step 9: Decorate your envelope with embellishments similar to those you used on your card.

 

Step 10: Place your card inside the envelope box and you’re all done!

 

Creating gift cards is an easy thing to do once you have expert input and the correct products to help you. Make sure you get all you need and start creating your own gift cards today!

 

 

Written by Marleen Theunissen

Creative writer for ATKA SA

Pastel Techniques: Blending, Scumbling and Glazing

Pastelists have had to learn other techniques to facilitate their artistic needs due to the nature of pastel as a dry medium and applied in a stick form. 

 

These other techniques included blending, scumbling, glazing, hatching, cross-hatching and feathering. These techniques fall under a broad category called “layering” which is when one pastel is applied into or over another. 

 

There are lots of factors to play in the outcome, including workable fixative, wetting t techniques, surface tooth and the relative hardness/softness of the pastel. Anyone who is serious about painting in pastel should be familiar with these basic techniques.

 

 

Blending is exactly as you know it – uniting to pastels by gently rubbing them together. Various colour and value shifts can be achieved with this technique. This is one of the most common methods used by pastelists to produce the subtle nuances easily provided to the wet media painter.

 

 

It asks for more skill, as a painter can mix various pigments together wet on a palette to a desired effect in advance of the application, the pastelist must be able to do this on the canvas. It’s best to do the blending with pastels of similar hardness or softness. 

 

It is possible to blend a softer stick of pastel into a layer of harder pastel on a surface, but the opposite is not easily accomplished. The harder pastel stick will want to push the softer pastel around, and blending can be more difficult to achieve. Do not apply the pastel too heavily. 

 

The thicker the layer, the more reactive it will be to control. Gently nudge one pastel stick into the other, often going back and forth. Do a softer blend by lightly smearing the pastel with your hand or a very soft brush. Also remember that the more the layers of pastel are smeared, the duller your end result will be!

 

Scumbling and glazing are not far off from the blending technique just described. Both rely on a thin application of pigment over another in order to shift both colour and value. 

 

Scumbling means using a thin application of a lighter opaque pigment to tint or lighten an area. Glazing means to shade or darken an area with a thin application of darker transparent pigment. 

 

This is commonly done when working with a wet media by applying very little paint in a dry brushing fashion or by thinning paint with lots of medium. The definitions of scumbling and glazing have become associated to their methods of application. Scumbling is done with a dry brush while glazing is done with medium. 

 

The pastelist can find this confusing since the entire application is done dry. The important thing to remember is that both depend on a light, tactile application. By gently dragging one pastel over another, utilizing the stick’s edge, a scumbling or glazing effect can be produced, depending on the hardness or softness of the pastel.

 

All the possibilities can be better understood by experimenting with soft over hard and hard over soft pastel techniques, as well as light applications of workable fixative applied between scumbled or glazed layers. 

 

The slightly grainy effect produced by this painting technique can be very effective when portraying atmosphere and often heightens the sense of depth in a painting.

 

 

Written by:  Marleen Theunissen

ATKA SA

Pastel Tips and Techniques

 

Pastels can be used in a variety of ways and each of the pastel techniques outlined here can be used individually, or combined with another. 

 

With pastel there is no right or wrong way – it simply comes down to what you enjoy doing with your pastels. Remember that each of these techniques should be tried with hard, semi-soft and soft pastels, because each one gives a slightly different result.

 

The same counts for different pastel brands.

 

 

Technique 1: Drawing with the end of a pastel

 

The simplest way to use a pastel is to draw with the end, as you would with a pencil or pen. The line you draw has great expression and conveys a sense of the gesture you made. The thickness of the line can easily be altered by varying the pressure applied to the pastel – the more pressure, the more pastel will be left on the sheet. The gentler you press (or if you use the edge) the thinner the lines you draw.

 

Tip! Use your entire arm to move when you draw. This encourages broader, looser drawing.

 

 

Technique 2: Drawing with the edge of a pastel

 

For the artist who wants to work quickly and create large blocks of colour, the side of a pastel stick is perfect. For optimal results, break a stick in half and then use it. Don’t feel bad about breaking your pastel – remember that even the smallest fragment of pastel is still usable! If you alter the pressure, it will create different degrees of texture. When the side of the pastel has worn down, the two resulting sharp edges can also be used to create a fine line

 

Tip! This technique works best with semi-soft or soft pastels.

 

 

Technique 3: Hatching and cross-hatching

 

This technique will be familiar to anyone with any drawing experience. Hatching, a set of parallel lines (preferably fine lines) drawn closely together, is best suited to pencils or hard pastel sticks. Cross-hatching is a step further – the drawing of a second set of lines at an angle, most often at right angles to the first set. This method is particularly useful in pastel painting for the initial blocking in of a painting as it allows to experiment with colour and tone in a loose, flexible way.

 

Tip! This method can be used to create a sense of form and shape by varying the direction of the cross-hatching.

 

 

 

Technique 4: Blending pastels

 

Pastels are never mixed before they are put together on paper, unlike most other mediums. There are two ways to create colour and tone variations. The first is optical blending, which is achieved by having colours in close proximity, and the second is blending, which refers to the pastel being mixed on the paper. There is a wide range to choose from regarding tools to use for blending. The most traditional is the finger, with the option to wear a surgical glove to protect the skin. Other available options are using the side of the hand, paper tools, putty rubbers, cloths and cotton wool.

 

 

Tip! If you’re using your hand or finger, remember to clean it regularly to avoid interference from colours previously mixed.

 

 

Technique 5: Scumbling pastels

 

Possibly the best method to achieve a different type of vibrancy with your pastel colours, is by scumbling. After a layer of pastel has been applied and fixed, drag a soft pastel lightly on its side across the top. It creates a broken covering of the new colour over the top. The result? A visually stimulating, textural and careful choice of colours will produce amazing results!

 

 

Tip! The best pastels to use for this method are the softest pastels.

 

 

Technique 6: Feathering with pastels

 

Feathering is a fine-tuned form of hatching using short strokes to achieve a result much like scumbling – it adds a vibrancy to your painting. Feathering also works for optical mixing of colours where colours are mixed with the eye, rather than being blended on paper.

 

Tip! If you want to give the appearance of iridescence of fabric, feathers and scales or create atmospheric effects with light, this the method to use.

 

 

Technique 7: Dusting with pastels

 

As an alternative to scumbling, try dusting. Hold a pastel over an existing block of colour and scrape the stick’s surface to create dust. Once you are satisfied with the arrangement of dust on your canvas, press the dust into the surface using a palette knife.

 

Tip! This is much easier done with the painting held horizontally, because the dust will fall exactly where you aim for it to and not affect the rest of your picture.

 

 

Written by: Marleen Theunissen

Creative writer at ATKA SA

PNA | Book Review: Inferno - Dan Brown

 

If you’re a Dan Brown fan, you probably could not wait to get your hands on his latest novel, Inferno. 

 

The greatest thing about those high expectations is that they are not disappointed. Dan Brown once again expertly draws his readers into a fast-paced, breath—holding thriller with his famed character, Robert Langdon – a Harvard university professor in art history and symbology.

 

 

Professor Langdon wakes up in a hospital in Italy with no memory of how he got there and to find that someone wants him dead. Dr Brooks, the doctor who saved his life joins him on a journey through hell – Dante’s hell, and together they follow the messages left hidden in age old history.

 

What first seemed as a threat to Langdon’s life turns out to be a threat for humanity and it is up to Langdon and Brooks to unravel the mysteries whilst avoiding being caught by their mysterious, but aggressive followers. 

 

Dan Brown creates a perfectly balanced storyline with realistic environmental politics and secrets in the art history of the middle ages where the Black Plague killed a third of the earth’s population. Waged in a war that has no fair compromise, the World Health Organization dispatched professor Langdon for his expertise in art history and the meaning of symbols and their use.

 

Jumping right into his well-known fast-paced storyline, Dan Brown ensures that you will not be able to put this one down until it’s finished. 

 

Although the twist near the end provides for good entertainment, the story seems to lose a bit of steam afterwards. However, the usual Dan Brown specialties are included – visual descriptions of famous buildings, excellently relevant history in artists and their creations and the ability to keep surprising his readers – every time. 

 

Without saying much more to spoil the story for you, I would recommend you get going right now to get this one. My rating is a well-deserved 9/10.

 

Written by: Marleen Theunissen 

Creative Writer for ATKA SA

PNA | Book Review: The Shining Girls - Lauren Beukes

At first this suspense thriller/horror might seem confusing and incoherent – that is until you realise that the main character, Harper Curtis, makes use of time travel.

 

He finds a House in the Depression-era Chicago that allows him to travel between 1931 and 1993 – something seemingly borrowed from a typical Stephen King novel. 

Over 60 decades, Harper visits his “shining girls”, first as little girls and then again years later, to kill them. All these girls possess an inner glow, a shine that Harper has to put out. 

 

Beukes makes good use of visual descriptions to decorate the murder scenes and the discovery of the victims. Her purpose here was to emphasize the violence found in these scenes daily, although it might shock the avid horror reader.

 

 

The time jumps are a bit sloppy, leaving the reader often lost and having to page back to check previous dates and their happenings. However, Beukes’s narration manages to compel the reader to keep reading and it is essentially Kirby - the girl who was supposed to die at Harper’s hand, but survived – that becomes the enchantment to this novel. Her survival after Harper’s attack fuelled her to find him and it is this shining girl that turns the hunt around.

 

Interesting to note, the rights to this book has been bought by Leonardo DiCaprio’s company Appian Way and it is set to be televised as a series. 

Beukes was very happy about this and noted that she declined a movie offer in favour of the series. 

 

 

She feels that the shining girls are the most important characters in the story and that a television series will allow sufficient submerging into the lives of these special girls – which would possibly allow the readers/viewers the chance to view the girls from the murderer’s view and possibly being able to associate with him.

 

Beukes, originally from Cape Town, spent two years in Chicago and researched the city with the help of two local researchers, which allowed the realistic setting for its time. 

 

All-in-all, The Shining Girls fulfills its purpose – to entertain, stimulate the imagination, raise the blood pressure ever so slightly and leave the reader wanting more to be said.

PNA | Can Anyone Become A Franchisee Of PNA?

Yes, anyone can become a franchisee of PNA.  

 

A fixed amount is required for you to set up your franchise and join the PNA family.

 

PNA offers full support to new franchisees to ensure that you reach your full potential! 

 

These include training, store evaluation and analysis, formulating your business plan, formulating budgets, trading density guidelines, product knowledge, store layout, product sourcing, lease and lease-renewal negotiations and much more.  

 

 

When joining PNA, you will also join a national marketing campaign that includes broadcasting media, print advertising, outdoor advertising, direct response advertising, electronic media advertising, community advertising and in store campaigns and competitions.