Sandra Chang-Adair Erotic artwork and fantasy

Sandra Chang-Adair

United States

Sandra Chang is a self-taught artist that is passionate about delineating the beauty of the human form. She paints both erotic artwork and fantasy. She embraces eroticism in her art after years of struggling against the taboo of sexuality. In her earlier work, she expresses her rebellion by painting powerful, domineering women, often subjugating their male counterparts. Her recent heroines are depicted as enjoying their sexuality openly with subtle humor interjected in the vignettes.

Her medium of choice is digital, drawing from scratch and employing Adobe Photoshop and Corel Painter. She also loves oils, acrylics and watercolors. Sandra established herself in the art world by working for Eros Comix, creating and drawing x-rated comics, Sheedeva, Sin Metal Sirens and contributing to Eros Anthologies. Her artwork has been published in Heavy Metal, Erotic Signature, Exotique 3, and Drakaina Masters. She is currently illustrating pin-ups for Hustler Magazine. Besides art, Sandra enjoys practicing kung fu. She has a second degree black belt in Budoshin Ju Jitsu, a black sash in Northern Eagle Claw and certificates in Kung Fu Weapons and Traditional Kung fu.

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Pink Roses in Watercolour by Trevor Waugh

How to Paint a Rose- Digital Painting

Elena Dudina (2009-2013) Digital Art / Photomanipulation

Bertram Bahner Photography

About the Artist
 

Kim Anderson began his career photographing people and fashion, while also doing work in advertising.

In the past decade, the name Kim Anderson has become synonymous with children's photography, known for an extraordinary body of work that conjures feelings of joy, innocence, tenderness, and wonder while reawakening the viewer's own memories of childhood. The romantic and endearing photography has a timeless and universal appeal. Kim Anderson resides in Bonn, Germany with his family. His seven year old daughter is often featured in his photography.

The creator of these beloved images is Bertram Bahner, who lives with his family in a mountainside village in Switzerland. Long before the Kim Anderson series appeared, Bahner was a successful European photographer. Today he is one of the most widely published photographers in the world.

Initially inspired to record his three-year-old daughter Nicola playing with her friends, Bahner discovered that he had captured moments of universal appeal. From the beginning Bahner's methods were marked by simplicity and sincerity, using few props in a session and then letting the children play while stepping back to wait for the one spontaneous yet timeless moment when , as he says, "the emotion is perfect."

Soon the Kim Anderson project took on life of its own. Photographs of his daughters and friends were augmented with images of other little girls and boys, among them Bahner's son Manuel. Family involvement also includes his wife Monika, who helps to choose the props and styles the shoots with inimitable flair. Bahner continues to hand-print each carefully selected images, and oversees the hand coloring that has become the Kim Anderson signature.

 

Sara Moon | Iranian Fashion painter

Bijan Djamalzadeh, Iranian painter, known for his art works signed as “Sara Moon”, was born in Teheran and left his home county to study medicine in Germany at the request of his father. He returned to his home country with his new-found skills but his love of art was not to be denied, and in 1974 he returned to Germany to paint, signing his work "Sara Moon".

Characteristics of Chinese Traditional Painting

Write a painting, read a picture
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Fragment of a painting of Luo Ping (1733 - 1799), Qing Dynasty.
The Chinese usually use the brush to write. Thus, the calligrapher and painter share the same materials (brush, ink and silk or paper), make use of the same basic strokes and judge their work by the same criteria: the vitality and expressiveness of the brushwork and harmonious rhythm the composition. Therefore, ARE HEREBY Calligraphy and Painting Arts Center.

Given its intrinsic relationship with calligraphy, Chinese painting is essentially a line art. The Chinese have become simple lines in a highly developed art. The lines are used not only to draw contours, but also to express the artist's concepts and feelings. For subjects and different objectives, they use a variety of lines: straight or curved, hard or soft, thick or thin, light or dark, wet or dry. The use of lines and strokes is one of the elements giving Chinese painting its unique qualities.

Qichang Dong Work (1555-1636), Ming Dynasty.
Chinese painters, generally, have not been interested in reflecting reality and three-dimensional mass through grants as shading and perspective, but have focused on transmit, through the rhythmic movement of the brush, their perception of the essence of things.

It is surprising that a painting based on the line and the stroke rather than the nuances and gradations, can produce such a sense of volume, topography, depth and atmosphere. This is due both to the extraordinary diversity and richness of the stroke as the wise and resource utilization as full-empty. So, to give prominence to the main topic, it is lawful to completely skip the background and simply leave it blank.


Another feature of the Traditional Chinese Painting is not using the Western fashion perspective, but shows the space into a kind of progressive vision: to contemplate a painting "vertical", hanging on the wall at the height of a viewer sitting, eye level, bottom up, the degrees of distance, on the contrary, in paints "horizontal", which are as they are unwound, the sight is horizontal motion. This progressive vision brings us to a different reality which centered perspective provides a single point of view.

Four Arts in One


Often the presence, in the same table, four different arts: painting, poetry, calligraphy and seal impressions. The texts calligraphed and seal impressions help explain the painter's ideas and feelings, as well as add decorative beauty to the painting.

A good example of this is the painting "In a mountain road in spring" by Ma Yuan (act. 1190-1225) of the Southern Song Dynasty: A walk down the mountain scholar; following in their footsteps, a servant carries the ch'in of his master, a musical instrument similar to a zither. The scholar has paused to watch two orioles in windblown willow. The stanza of a poem, right, steals the show and its atmosphere:

   "Kissed by his sleeves, wild flowers dancing in the wind;

     Escaping from him, hidden birds interrupt their songs. "




The Form and Content
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The high religious art, as such, is outside the Traditional Chinese Painting, there is no room for war, violence, nudity, death or martyrdom. No address any topic that is not inspiring, noble, refreshing to the spirit or at least charming. In traditional Chinese art is not an art conceived purely formal, separate from the contents: it is not enough that the form be beautiful if the content is unedifying.