Great article, not just about Rockwell.
“Rockwell & Race”1963-1968 | The Pop History Dig
Wednesday, May 31, 2017
Tuesday, May 30, 2017
March Art Challenge!!!!
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March Art Challenge!!!!
// Art and Reference point
Its simple.
Everyday, create something.
But there's a catch. You have to use one or more of the Principles of Design or Elements of Art.
Im doing this.
No really, Im doing this.
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Sebastian Curi creates messy, “imperfect” characters everyone can empathise with
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Sebastian Curi creates messy, "imperfect" characters everyone can empathise with
// It's Nice That
Argentinian illustrator and animator Sebastian Curi grew up and studied in Buenos Aires, and has worked almost his entire professional life in animation studios such as Plenty, Le Cube and Buck, where he is now, based in LA. Well versed in commercial commissioned pieces – having collaborated with the likes of IBM, Nickelodeon, MTV, Facebook, National Geographic and HBO – he recently looked to develop his personal character design and illustration work.
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inputanimeoutput:三笠·阿克曼 || 極限の道 *Reprinted with permission from...
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inputanimeoutput:三笠·阿克曼 || 極限の道 *Reprinted with permission from...
// Hyperwave
三笠·阿克曼 || 極限の道
*Reprinted with permission from the artist. Do not repost or delete source information.
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Meissonier's Maquettes
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Meissonier's Maquettes
// Gurney Journey
A fellow artist eyewitnessed the way Ernest Meissonier (French, 1815-1891) made reference maquettes for his famous equestrian paintings.
"He made a beautifully finished little wax model of a horse and a rider."
"Every detail was carefully reproduced from the real materials—the rider's cloak, hat, and spurred boots were miniature masterpieces—and in order to get the exact folds of the cloak it was dipped into thin glue and then placed in the wind so that it stiffened as it blew."
"He did these for studying compositions and light and shade. He used to place figures on a shadow box and paint the basic shadow and light shapes from them sometimes, instead of going to landscape and doing the same."
When these mixed-media maquettes came to light after Meissonier's death, they were so popular that collectors demanded bronze castings be made, so that they could be appreciated as sculptures on their own merit.
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Quote comes from Inspirational Artworks blog, which has more examples
More at Napoleon.org
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Monday, May 29, 2017
hideback: Antoni Gaudí (Catalonian, 1852-1926) Colonia Guell,...
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hideback: Antoni Gaudí (Catalonian, 1852-1926) Colonia Guell,...
// The Curve in the Line
Antoni Gaudí (Catalonian, 1852-1926)
Colonia Guell, Santa Coloma de Cervelló, Spain
Begun 1898. Construction left uncompleted in 1916
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Towering Murals by Blu on the Streets of Italy Confront Environmental and Societal Woes
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Towering Murals by Blu on the Streets of Italy Confront Environmental and Societal Woes
// Colossal
La Cuccanga, 2017
From climate change to capitalism run amok, street artist Blu (previously) pulls no punches in his soaring multi-story murals on the streets of Italy. While mixed with a healthy dose of sarcasm and humor, the inspiration behind each artwork is anything but funny as he translates searing critiques into aesthetically beautiful paintings. For instance a 2016 piece criticizing housing problems in the Celadina district of Bergamo, Italy depicts cramped residents as a brightly hued rainbow but leaves a small group of authorities in the lower right completely devoid of color. Collected here is a selection of murals from the last year, you can see more detailed shots by flipping through his blog. You can also get an idea of how he works—perched on a tiny suspended seat—in this short GIF.
Porto Torres, 2016
Celadina, 2016
Catina, 2016
Alta Voracita, 2016
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Why Colleen Blackard is an Artist to Watch
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Why Colleen Blackard is an Artist to Watch
// Artist's Network
For several years, New York artist Colleen Blackard has been producing an interesting body of drawings that aren't quite like anything else. Frequently using ballpoint pen as her medium of choice, Blackard's drawings depict celestial bodies and starry nighttime skies–ambitious subjects. She draws primarily by making circular marks to create tone, which gives her drawings a unique sense of texture and depth.
We recently asked the artist a few questions about her intriguing work. If you like what you see here, head to colleenblackard.com, and pick up your copy of the Spring 2017 issue of Drawing magazine, to learn more.
Paths of Memory, by Colleen Blackard, 2012, ballpoint pen on gessoed wood, 33 x 42.
Drawing: When did you first start using ballpoint pen for your art, and what do you like about it?
Colleen Blackard: I started using ballpoint pen at the suggestion of my professors at Hampshire College. I was rendering stormy landscapes in charcoal, and they wanted me to really get into the work, so they challenged me to build up those same charcoal blacks in ballpoint pen. Once I started drawing with ballpoint, I was mesmerized. The long process became very meditative for me, and it also gave me a greater range of tone.
Orion's Belt, by Colleen Blackard, 2009, ballpoint pen, 20 x 28.
DR: How did you learn or develop your technique of using circular marks to build up tone?
CB: When I began drawing stars, I found that encircling them with expansive, circular marks was the most natural way to render their light and depth. I carve out light with dark ballpoint circles. Since I see everything as made of light, I translated this glowing, circular style to every subject I draw.
The rhythmic motion of building up infinite circles with ballpoint pen is very meditative, and the rapid flow of marks is captivating. Rolling the ball-tip of the pen in a circular motion feels like what it was made for; it's very effortless and fluid.
Important, by Colleen Blackard, 2015-2016, ink and watercolor, 120 x 96.
DR: What is it about stars and night skies that inspires you to explore those subjects in drawing after drawing?
CB: I'm fascinated by the infinite nature of the universe and our place within it. It's the ultimate expression of scale and perspective. This is most prevalent in my recent 10' ink drawing Important [above], which depicts the Milky Way rising high above a tiny abandoned barn. The scale dwarfs the viewer, and one must look up to see the full night sky. I'm also inspired by the sentiment that we are all made of stardust, as I symbolize by building my drawn universe out of the glowing, starry points of light in the space between my circular marks.
Wake, by Colleen Blackard, 2010, ballpoint pen, 20 x 16.
To receive all the best drawing instruction and profiles of notable artists, like Colleen Blackard, subscribe to the Drawing here.
The post Why Colleen Blackard is an Artist to Watch appeared first on Artist's Network.
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Sunday, May 28, 2017
How to Make a Sketch Easel
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How to Make a Sketch Easel
// Gurney Journey
A plein-air easel should achieve the following goals:
1. Allow you to stand or sit.
2. Hold your panel or sketchbook up out of your hands, so that both hands are free.
3. Position the work close to your line of sight so that you can achieve accuracy.
4. Allow easy adjustments of height, slope, and angle.
5. Diffuse the direct sunlight to get rid of glare and cast shadows.
6. Resist being blown over by the wind.
7. Set up and take down quickly, fit into a lightweight and compact bag.
8. Be easy to build from readily available materials.
After decades of tinkering—and with the generous input of you, the GJ Community here on the blog—I think we've got something that really achieves these goals.
People are calling it "The Gurney Easel," but I just call it the "sketch easel."
(Umbrella Video on YouTube) I recently headed into the workshop to build a sketch easel for Jeanette. And being the needlecraft wizard, she helped me create some light diffusers. We documented the whole process in a new Gumroad video.
It will show you exactly how to build one. If you don't have the workshop tools or skills, why not get the video for a friend who can build it for you?
(Quick-Release-Plate video on YouTube)
The video is loaded with valuable tips. For example, instead of attaching the quick release plate each time to the back of your easel, you can get a few extra cheaper generic plates.
Screw one of them semi-permanently into the back of your easel. Each camera and each easel gets its own plate, and the slot on the tripod is left empty when not in use (I use Velbon or Amazon tripods) which have a square slot.
The video covers how to make both the easel and four different diffuser designs. I'll talk more about tools and materials tomorrow, and share some of your design ideas on Monday.The HD download of "How to Make a Sketch Easel" is more than an hour long and costs only $14.95.
It's available now from Gumroad, and I'll upload it to Sellfy and Cubebrush later today.
The DVD version is available for $24.50, and it includes a slide show. The DVD is also available on Amazon
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Saturday, May 27, 2017
The No-Phone Selfie | How to Draw Self-Portraits in the Easiest Way
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The No-Phone Selfie | How to Draw Self-Portraits in the Easiest Way
// Artist's Network
You can read more about the Big Picture Art Project and upload your drawing here.
Sophie Babeanu and I designed the no-phone selfie activity for Culture Days last year. Culture Days is a pan-Canadian weekend in October where many studios, galleries, artists and performers offer free activities to the public.
We were looking at ways to make it easy for participants who are new to drawing to make a self-portrait. Our activity was a great success. Many people had fun learning and trying out the technique, and some even set their new no-phone selfies as their social media profile pictures.
No-Phone Selfie by Sandrine Pelissier
This technique is also an easy and fun way to participate in our collective art project, The Big Picture Art Project. You don't need to have any drawing experience to get interesting results, and what better way than a self-portrait to share a little bit more about yourself with others.
Want more easy drawing ideas to participate in this global initiative? I cover a wide range of drawing techniques in another post, which you can find here.
Simple Steps to Drawing a No-Phone Selfie (Self-Portrait)
For the no-phone-selfie technique, you will need the following materials:
- A small mirror—preferably rectangular—but you can also use a circular mirror if necessary (just make sure your entire face fits within the mirror's frame)
- Washable (or water-soluble) markers, fine-liner, felt, etc.
- A damp paper to make a print of your drawing
- A Spray bottle
- Tissue paper (to make corrections as needed)
Get situated. Start by looking at yourself in the mirror. Make sure the mirror (and your placement) does not move.
Trace your features. Once your position is set, trace the contours and features of your face on the mirror using a washable marker, fine-liner or felt. The easiest way to do this is to close one eye and draw everything on your face—except the eye you closed. Then open your eye, move your face so it fits the lines you just drew, and draw in the missing eye.
Adjust as needed. If you want to make any corrections on your drawing, just use a piece of wet tissue paper to remove your washable marks.
Fill in details. You can fill in/shade in any areas of your self-portrait, such as the hair like I am doing in the picture above.
Define your colors. You can choose to add color or just keep it in black and white. Since I am making this portrait for The Big Picture, I am only using black ink.
Prep your print. Once you are done with your drawing, cut a piece of paper about the same size as your mirror, then spray it with water.
Keep it damp. If you experiment with this technique, the dampness of the paper will influence the way your print will look. You will get sharper lines with a dryer paper and blurrier lines with a wetter paper.
Place the wet paper on your mirror. Once you have sprayed the cut paper to the desired dampness, apply the paper to the mirror and press gently. Make sure all areas of the paper are in contact with the mirror.
Pull the print. Gently lift the paper off the mirror. During this process, you should see the drawing being transferred from the mirror to your paper.
No-Phone Selfie by Sandrine Pelissier
Once the print has been pulled, you will have your simple self-portrait. The picture above is an example of my print. Although it isn't the most accurate likeness of my face, I like the raw energy of this style of drawings; and the most important step to remember when trying out this technique is to have fun.
With this quick and fun technique, you can draw a self-portrait in just a few minutes—your own artistic spin on taking a "selfie" with no phone required!
Below are a few examples of no-phone selfies created by visitors, Sophie and myself in the studio during Culture Days. Enjoy!
No-Phone Selfie by Sandrine Pelissier
No-Phone Selfie by Carolina Radovan
No-Phone Selfie by Joanne White
No-Phone Selfie by Gaspar Babeanu
No-Phone Selfie by Sophie Babeanu
No-Phone Selfie by Sandrine Pelissier
You can peruse through pictures of our Culture Days activity in the studio, as well as all the self-portraits made during this fun-filled event on my website, SandrinePellissier.com. And, if you're ready to submit your own no-phone selfie, or any other drawing, to be part of The Big Picture, head on over to TheBigPicureArtProject.com.
The post The No-Phone Selfie | How to Draw Self-Portraits in the Easiest Way appeared first on Artist's Network.
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Friday, May 26, 2017
Anna Deavere Smith on How to Break the Paradox of Procrastination
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Anna Deavere Smith on How to Break the Paradox of Procrastination
// Brain Pickings
"If I swim a mile, the first half hour might be drudgery, but somewhere in the middle it catches fire."
"Live immediately," Seneca exhorted in his timeless 2,000-year-old meditation on the shortness of life. "Hurrying and delaying are alike ways of trying to resist the present," philosopher Alan Watts wrote in contemplating the art of fruitful timing. Half a century later, we seem to go through life on a ceaseless seesaw oscillating between the extremes of haste and procrastination — the more we worship at the altar of productivity, the more we find ourselves lulled by the distractions of busyness, forgetting somehow that, as Annie Dillard memorably observed, "how we spend our days is, of course, how we spend our lives."
Productivity, today, is the active procrastination par excellence.
How to break out of that paradox is what actor, artist, playwright, and educator Anna Deavere Smith explores in one of the missives in Letters to a Young Artist: Straight-up Advice on Making a Life in the Arts for Actors, Performers, Writers, and Artists of Every Kind (public library) — the spectacular volume, modeled on Rilke, which gave us Smith on what self-respect really means and the discipline of not letting others define you.
Acknowledging that procrastination befalls all of us at one time or another, in one form or another, Smith considers its paradoxical nature:
We think of the procrastinator as lazy and inactive, but procrastination is active. Not to get all psychological and heavy on you, but procrastination is actually "active avoidance." I like the word active, because it shows just how powerful your avoidance tendencies are.
[…]
The most heavy-handed thing I can say is: If you procrastinate, you are only robbing yourself.
She examines the basic psychological mechanism by which procrastination lays its claim on us and the simple, powerful counterforce by which we can break it:
The main fuel for procrastination is thought. Sometimes procrastination abounds because you really don't have a clear idea of what you are trying to do, and where it's going. Then the exercise of visualizing what you are trying to do, what you want, what your goal is, can be helpful.
If you are basically a motivated person, without too many deep, dark reasons why you are conflicted about success, then procrastination can be met head-on by "just doing it."
In a sentiment evocative of Picasso's insightful observation that "to know what you're going to draw, you have to begin drawing," Smith adds:
Give yourself an image of what you are trying to do, and just start. The doing gives you energy and ideas. If I swim a mile, the first half hour might be drudgery, but somewhere in the middle it catches fire.
Complement this particular portion of Smith's thoroughly vitalizing Letters to a Young Artist with Stoic philosopher Marcus Aurelius on how to motivate yourself to get out of bed each morning and the great French artist Eugène Delacroix on the cure for idea-procrastination, then revisit Smith on how to listen between the lines in a culture of speaking.
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Wednesday, May 24, 2017
The Shock of the New
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The Shock of the New
// Deja View
When I first heard that Walt Disney didn't like the look of 101 Dalmatians at all, I couldn't believe it.
What a great film, and watching the animation in rough form added even more life to the characters than ever before. The animators were sure happy, because audiences for the first time were able to see on the screen what came directly from their animation desk. Loose, dynamic drawings that weren't re-interpreted by inkers with super clean ink lines on the cels.
I remember Milt Kahl remarking that all the way back to Peter Pan that he told Walt about the idea to find a way to reproduce the rough animation as final footage. But Walt's response to Milt was was:"Ah, you want that fine line around those characters." Walt didn't want to remind the audience that they were looking at drawings.
But Sleeping Beauty turned out to be the last inked animated feature at Disney. Economics forced future productions toward a simplified production pipeline, and that meant photocopying the drawings on cels. Black lines and all.
As for myself, I love the inked classic films, but I really am crazy about xerox. That's why my film Mushka won't include any clean up animation, I wanted to keep the drawings loose, because I like the vibrancy that comes with rough animation.
For more on xeroxed cels go here:
http://andreasdeja.blogspot.com/2014/05/xerox.html
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