ARLEYART MOTIVATIONAL PRINTS

 Arleyart.com is a platform where Arley Clark, the owner, sells his unique motivational art. Arley, born in 1947 and raised in Bremerton, Washington, has always been inspired by words of wisdom. This includes quotes, phrases, song lyrics, and even advertising taglines. Throughout his career, motivational or thought-provoking messages were always on display on his office walls. Frustrated by the limited selection of display-worthy plaques, posters, or art prints available in the market, he decided to create his own. Upon retiring from a management career in the sporting goods industry, Arley decided to check the market for his kind of motivational art, leading to the birth of ArleyArt​1​.

 Canon, HP, and Epson offer a type of turn-key solution, especially when using their media. These printers have built-in profiles for correctly printing their own media. They have also developed their printer drivers over the years to accommodate third-party media. Using manufacture’s papers and printer profiles do provide a turn-key solution producing good quality prints right out of the box. If you decide to go this route, you should select let printer manage color in Photoshop or Lightroom.

 Creating custom printer profile for fine art prints by Peter DulisCreating custom printer profile for fine art prints by Peter Dulis

 If you feel you need yet better results from your printer, then you would let Photoshop manage color and use custom profiles for your printer & paper combinations. Most professional landscape photographers will choose to let Photoshop manage colors and will often use custom profiles.

 It’s not within this article’s scope to go into the details of making or using such profiles or custom profiles, but there are numerous articles that have been written on the subject. If you need to use a custom media profile, there are many companies that provide this service on-line. Alternatively, you can invest in X-Rite (or other) professional color management software and hardware.

 I like to print at home because I can experiment with a large range of available media types. There isn’t just one “best” paper. It really comes down to how you think it suits the image, what you like, and how it looks and feels to you. If you get hold of a good media supplier, they should be able to provide sample packs from manufactures such as Canon, HP, Epson, Moab, Red River, Hahnemühle, and so on.

 There is quite a range of inkjet printers on the market today. Some office-type printers may give you a nice-looking image, but not all inkjet printers are created equally. The most usual and accessible brands currently on the market are from Canon, HP, and Epson. All of these manufacturers can make fine prints and all have their pros and cons.

 If you are looking at Canon, then you’ll want to consider Canon imagePrograf photo printers starting with the 17” wide Pro1000 and going all the way up to 60” imagePrograf 6100. The Epson photo printers start with the 17” SureColor P800 and going all the way up to 64” Epson SureColor P20000. All three manufacturers also offer 24” and 44” models.

 In summary, digital imaging makes fine art printing more accessible than ever in the history of photographic technology. However getting color and sharpening correct is usually essential for creating outstanding landscape photography prints. You can approach this at different levels of ease or complexity, depending on your requirements and taste. The main point of this very brief overview into a vast subject is that you have choices whether to start at an elementary automated level where most of the work is done for you under the hood, or to move into processes and procedures over which you exercise more control and may get better results, but need to learn more and experiment more.

 This article contains tips, examples and guidance to help students produce an outstanding sketchbook as part of a high school art course. It is intended to help students studying a wide range of high school art qualifications, including IGCSE / GCSE Art, A Level Art, IB Visual Art (the Process Portfolio or Investigation Workbook / IWB), and NCEA Level 3 Scholarship. It outlines best practice in terms of content and page layout, providing ideas and recommendations for students of any discipline (including Painting / Fine Art, Graphic Design, 3D Design, Architecture, Printmaking, Photography, Textiles, or Fashion students).

 Want more guidance? Some of this material and much more is in our new book: Outstanding High School Sketchbooks. This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools. Learn more!

 An amazing A Level sketchbook pages by A2 Fine Art student Claire Lynn. Partial imitation of artist works allows students to learn techniques and processes. You may wish to view more of Claire’s 100% (A*) A Level Art project.

 A sketchbook is a creative document that contains both written and visual material. It may include teacher-guided sketchbook assignments or self-directed investigations. A sketchbook helps you to think through the stages of the creative process: researching, brainstorming, experimenting, testing, analyzing, and refining compositions. It is a place to document your journey towards a final solution, providing depth and backstory to the accompanying artwork. A sketchbook is an important part of many visual art courses.

 Many high school art projects have flexible, open-ended requirements. The recommendations below explain what is typically expected in a high-quality sketchbook.

 It is essential to demonstrate a clear personal connection to the theme/s explored in your sketchbook. You can do this by drawing from first-hand observation; working from original photographs; documenting personal visits to galleries, historic places, museums, or design sites; and explaining the personal context surrounding your work (how the work is relevant to you and your life).

 A project based solely on secondary sources (such as images from the internet, books, or magazines) is typically frowned upon by examiners and may lead to superficial work, a lack of engagement, and plagiarism. (Relying upon second-hand imagery is one of the Top 10 Mistakes made by art students.)

 These sketchbook pages by Jack Broad include clear evidence of first-hand engagement with subject matter, with observational drawings from primary sources.

 An important role of the sketchbook is to aid the planning and refining of larger artworks. This might include composition studies, thumbnail sketches, or layout drawings (exploring format, scale, enlargement, cropping, proportion, viewpoint, perspective, texture, surface, color, line, shape, form, space, and so on); design ideas; photographs of conceptual models or mock-ups; storyboards; photographic contact sheets; analysis of accompanying portfolio work; and many other forms of visual thinking.

 These IGCSE Art and Design sketchbook pages by Manisha Mistry, ACG Strathallan College, show composition development for a final painting. Thumbnail drawings refine structure, layout and choice of color. You may wish to view more of Manisha’s A* Coursework project.

 Fill your sketchbook with original visual material—particularly work that is exploratory, incomplete, and experimental (as opposed to finished artwork). Visual material should support the theme of the project, rather than depict a random collection of unrelated subject matter.

Words of Wisdom Art Prints

 These A Level Fine Art sketchbook pages by Nichole Choi are brimming with original observational drawings. Note how the drawings of chicken bones are not ‘finished pieces’ but rather rich, exploratory investigations of tone, texture, and form – sprawling across the page, without clear boundaries. Continuous line drawings emphasize marks and textures upon the surface of the bone.

 Your sketchbook should contain a wide range of media and materials, as appropriate for the project and area of specialty. Include photographs of any three-dimensional exploration. A broad list of possible media and materials is listed below:

 Drawing and painting surfaces: colored and textured papers of varying weights, such as tissue paper, watercolor paper, newsprint, or cartridge; cardboard; transparent sheets, plastic overlays, or tracing paper; discarded wallpaper, patterned paper, or printed sheets; photographic paper or other specialized printing papers; painted or prepared grounds; masking tape or other adhesive surfaces; collaged materials; dried textures created with acrylic pastes or compounds; canvas, hessian, or other fabrics; other appropriated items. (See more examples of drawing and painting surfaces in our four-part Creative Use of Media series for high school art students.)

 Drawing and painting media: graphite pencil; colored pencil; ballpoint pen; ink pen; calligraphy pen; marker pen; chalk; charcoal; crayon; pastel; drawing ink; printing ink; natural or manmade dye, such as from commercial pigments, walnut skins, coffee stains, or food dye; gouache; watercolor; acrylic paint; oil paint; spray paint; house paint; shellac/varnish; fixative; wax; painting mediums, such as thinners, gel/gloss, glazes, drying retarders, textural pastes, or modelling compounds.

 Threads and textiles: natural fibers, such as cotton, silk, flax, or raffia; wool and other animal hair, furs, or leather; synthetic threads, such as nylon, acrylic, or polyester; textiles of different weights, weaves, patterns, prints, or colors; upcycled fabric, including from non-traditional sources such as repurposed woven plastic bags; elastic; sewing threads; embroidery threads; string; rope; beads.

 Sculptural materials: glues or adhesives; papier-mâché; salt dough; modelling clays or ceramics; feathers, bone, or other animal materials; food; seeds, leaves, cane, balsa, or other woods; sand, earth, pumice, rocks, or stone; wax; plaster; latex; Styrofoam; plastics; resin; concrete; fiberglass; wire, foil, or other metals; ice; light; other organic and manmade found materials.

 Tools and technology: brushes; airbrushes; sponges; paint rollers; palette knives; craft knives; scissors; stencils; engravers; sandpaper; chisels, pliers, or other woodworking tools; metalworking tools; paper trimmers; pottery wheels; crochet hooks, needles, sewing machines, or overlockers; looms; traditional or digital cameras; darkroom equipment; kilns; printing presses; photocopiers; scanners; computer-aided design (CAD) software such as Adobe Photoshop, Adobe InDesign, or SketchUp Pro; computer-aided manufacture (CAM) equipment such as 3D printers and laser cutters.

 Tools and technology: brushes; airbrushes; sponges; paint rollers; palette knives; craft knives; scissors; stencils; engravers; sandpaper; chisels, pliers, or other woodworking tools; metalworking tools; paper trimmers; pottery wheels; crochet hooks, needles, sewing machines, or overlockers; looms; traditional or digital cameras; darkroom equipment; kilns; printing presses; photocopiers; scanners; computer-aided design (CAD) software such as Adobe Photoshop, Adobe InDesign, or SketchUp Pro; computer-aided manufacture (CAM) equipment such as 3D printers and laser cutters.

 The techniques, processes, and practices explored in your sketchbook should be appropriate for the project and area of specialty. Try to use both traditional and contemporary approaches. These should be informed by the study of relevant artists and first-hand practical experimentation. Complex processes can be documented using diagrams, annotated screenshots, or photographs of work in progress (this can help to prove that the finished pieces are your own work). Don’t document every technique at every stage of production. This is a space-filling device that pushes out more relevant content.

 This IB Visual Art sketchbook page is by Allison Ho from Sha Tin College. Note how screenshots of work in Adobe Photoshop (top right) document stages of progress. This helps to verify authenticity of work, so that examiners are clear that the work was produced by the student. Allison received the highest grade (level 7) for her IB Visual Arts course. You can view more of Allison’s excellent sketchbook pages here.

 The sketchbook is an excellent place to document learning from the work of artists. This might include whole or partial copies of relevant artwork accompanied by critical analysis and practical experimentation where appropriate. Artists should be selected purposefully and offer valuable learning opportunities in their approach to subject-matter, composition, technique, or use of media. Aim to study the work of both historical and contemporary artists from a range of different cultures. Avoid bulking up the sketchbook with gallery pamphlets, fliers, brochures, or other printed material from secondary sources.

 These A Level Art artist research sketchbook pages by Nikau Hindin show analysis of paintings by Janet Fish. Nikau has created drawings and acrylic copies of part of Fish’s paintings (there is rarely any need for students to slavishly replicate an entire painting – a small portion is enough for students to gain an understanding of the techniques and processes used). You may wish to view more of Nikau’s A* Cambridge A Level Art project.

 These sketchbook pages are by Pallas Yiu, completed while studying Edexcel GCSE Art and Design at Sha Tin College, Hong Kong. Pallas contrasts and compares the work of Albrecht Dürer with Zhao Fang. Imitations of artist work accompany detailed critical analysis. You can view more of Pallas’s A* GCSE Art sketchbook in our publication: Outstanding High School Sketchbooks.

 A high school sketchbook should be reminiscent of the kind of document that an artist or designer might create. It does not need to be overworked, perfect, or polished. The following tips provide broad guidance in terms of page layout and presentation style.

 Avoid intrusive lettering, elaborate front covers, decorative borders, over-the-top backgrounds, or unnecessary framing or mounting. Fold-out tabs add an interactive element but risk examiners missing work, so are best avoided.

 Use small, legible handwriting—this way, any spelling or grammatical errors are less distracting. Write with graphite pencil or black, grey, or white pen.

 Do not spend weeks dreaming up inventive layouts or researching presentation ideas on the internet. Focus on what matters: producing quality art and design work.