http://www.zihala.com/pigment-liner/
In The Brooklyn Museum: "Tipis From The Brooklyn Plains" By NF Karlins
In 1889, the same year that Vincent van Gogh painted Starry Night, the H��nkpapa Lakoda warrior Rain-in-the_Face illustrated a chronicle of his exploits — horse-stealing, making war as well as the heroic rescue of the chief’s daughter throughout a battle with U.S. soldiers — about the liner of his tipi.
As the tipi shows, Native Americans had architecture in addition to art. More than 30 different Plains Indian tribes spread from Texas to Canada used tipis as shelters during much of the 19th century.
This portable dwelling may be the focus of “Tipi: Heritage from the Great Plains” in the Brooklyn Museum, Prom dresses 2012 which has taken the presumably crowd-pleasing opportunity of erecting several actual tipis included in the show (the Indians of Brooklyn, and the rest of the northeast, didn’t use tipis). Visitors are allowed to enter one example, which soars 28 feet into the museum’s fifth-floor rotunda. It had been constructed three slender wooden poles, that others were added, after which a painted canvas (formerly a buffalo-hide covering) was unfurled on the top and secured.
The museum commissioned this splendid tipi from Blackfeet artist Lyle J. Heavy Runner, the master of the design. Traditionally, designs have been passed down from generation to generation, and pictorial imagery is based on visions men experienced during religious ceremonies.
This example is known as Bleeding Buffalo Skull. The primary red motif could be interpreted as a bleeding buffalo skull or as two men holding pipes or hatchets. The look, that is read in the ground-up, has numerous other elements.
The show contains two more full-size tipis, giving an idea of the evolution from the form. The first is a duplicate of the Lakota buffalo-hide tipi that dates to pre-Reservation days, or before 1860. Another is in the Southern Cheyenne, dating to 1904, and is full of beautifully made backrests and painted parfleches (folded, rawhide rectangular containers).
Women were typically responsible for making the tipi, and in many tribes they contributed abstract, beaded medallions to tipi covers, as possible seen in the 1904 tipi on display. Women also made most of the family’s possessions, and designed geometric motifs for clothing and small portable objects.
Native American men owned and displayed their medicine bundles and warrior regalia in the tipi,Designer evening gowns earning the rights to wear certain prestige items, like feathers in war bonnets, according to their fighting prowess. Men also created naturalistic designs on tipi covers and liners, which in the reservation era were also used ledger books.
The decoration of objects by Native-Americans women artists is definitely dazzling in my experience. They were and therefore are formidable mixed-media artists. Even a small Arapahoe pouch in the turn from the Twentieth century merits an abstract design worked in porcupine quills and beads, while an Ogala Sioux spear case from the 19th century mixes hide, red trade cloth, and beads right into a three-dimensional scheme of great vigor and complexity.
Another extravaganza by an unknown Sioux artist is a man’s 19th-century buckskin shirt, which is part pigment-dyed with beadwork bands of red hands on a white background, hair and feathers.
“Tipi: Heritage of the Great Plains” includes several types of one type of object, like moccasins, to underscore the esthetic diversity of the Plains Indians. The tribes from the Great Plains encompass an enormous array of visual ideas, all constantly in flux.
One look at Kiowa artist Terri Greeves’ beaded high-heeled sneakers, Great Lakes Girls (2008), that are decorated with spiny oyster shell cabochons, Swarovski crystals and many types of beads, shows what lengths traditions are now being pushed today.
A team led by Brooklyn Museum curators Nancy B. Rosoff and Susan Kennedy Zeller organized this excursion into Plains Indian life.
“Tipi: Heritage from the Great Plains,” Feb. 18-May 15, 2011, Brooklyn Museum, 200 Eastern Parkway, Brooklyn, New York, N.Y. 11238
MAC Wonder Woman Collection – Eyeshadow Quads, Pigments, Opulash, Penultimate Eye Liner
|
|
L’Oreal Paris HiP Studio Secrets Professional Concentrated Shadow Duos, 0.08 Ounce Buy L’Oreal Eye Shadows – L’Oreal HIP High Intensity Pigments Concentrated Shadow Duo 218 Spirited. How-to-Use: Apply evenly to eyelids with provided brush or your own eye shadow brush. Accent with complementing colors and eyeliner…. |
|
|
L’Oreal Paris Infallible Advanced Never Fail Makeup, 1-Fluid Ounce … |
|
|
L’Oreal Paris HiP Studio Secrets Professional Color Truth Cream Eyeliner, 0.16 Ounce HIP – high intensity pigments™Color Truth Cream EyelinerDefine your look with rich, superior colorNew Color Truth Cream Eyeliner is the first cream eyeliner from HIP high intensity pigments. This longwearing creamy texture prevents color from losing its edge while delivering a true color deposit with a smooth, even application. With Color Truth Cream Eyeliner, you can complete your look and g… |
|
|
Helix Pigment Liners, 0.1 mm, Multi Color, Pack of 4 (37232) $6.94 Pigment Liners 0.1mm 4pack multi color… |
|
|
STD308019 Pigment Liner Sketch Pens, .1mm, Black Ink. $22.43 Pigment Liner Sketch Pens, .1mm, Black Ink Packaged quantity: 10/BX…. |
|
|
PIGMENT LINER BLK .3mm Drafting, Engineering, Art (General Catalog) $22.97 PIGMENT LINER BLK .3mm. STAEDTLER®, Pigment LinerFineliner for art, craft, and sketching. The black ink is acid-free, permanent, lightfast, and waterproof…. |
|
|
Mars Pigment Liner 0.5m Black $4.95 Staedtler-Mars Pigment Liner contains permanent pigmented ink for greater opacity and fade resistance. Ideal for many surfaces such as wood, ceramic and papier mache. Withstands watercolor washes and is smear-proof…. |
|
|
PIGMENT LINER BLACK SET/5 Drafting, Engineering, Art (General Catalog) $33.14 PIGMENT LINER BLACK SET/5. STAEDTLER®, Pigment LinerFineliner for art, craft, and sketching. The black ink is acid-free, permanent, lightfast, and waterproof…. |