22 October 2017
21 October 2017
20 October 2017
You know what's awesome? Free art supplies! Thanks to the good filks at Lenz Atrs for hooking me up! Preparations for my upcoming Urban Sketching Demo! Nov. 4th!
18 October 2017
Teaser for "C.F. Payne: An American Illustrator" from Tony Moorman on Vimeo.
Facebook page for the film
C.F. Payne: An American Illustrator is available on Vimeo for $4.99
The second interesting brush Rosemary offered me, was their Series 2250 Flat Comber.
The gimmick here is, we have a flat, with tiny serrations along the edge. Giving you rake-like marks – a series of parallel lines.
I do this with a pointed round by grinding the brush into the palette so that the tip splays out into a jagged fan. But that’s kind of a grim way to handle your brushes. It’s nice that Rosemary’s created this serrated flat, to give you a similar effect.
It’s a “Golden Synthetic” – which I can only assume is a kind of nylon. So it’s not a soft brush, or exceptionally thirsty. But, you wouldn’t want that, as it’s made for this kind of dry brushing.
I was using the Comber in combination with the Pyramid Brush. They do seem complimentary. Both brushes offering a unique kind of mark making. Supporting a calligraphic kind of drawing.
Or at least, that’s what comes naturally to me, when you give me these tools :)
07 October 2017
The recording is from a cassette tape which circulated by mail in 1985 among a group of art friends called "The Golden Palm Tape Network."
1. Greetings to Ron Harris and James Warhola.
2. Discussion about audio line mixers
3. Readings from Ruskin:
• painting open water
• advice to students
• atmospheric perspective.
Note his point at around 20 minutes in that cool colors don't necessarily recede, and warm colors don't necessarily advance.
You can still get copies of Modern Painters in print at Amazon. The other book I quoted from is The Elements of Drawing
|Arthur Burdett Frost (American, 1851-1928).
Mulvaney's Muley Cow, Harper's Weekly
was one of the most prominent illustrators of the 1920s. Most of his illustrations were done with a simple line, yet if you paid attention it soon became clear that Barton knew a few things. Here are four of them:
1. Sometimes the best way to exaggerate legs is to contrast them with a normal arm:
Those high-stepping legs seem even crazier because Barton gave us a baseline for normalcy. By showing us he understands the bones and muscles of that arm; he emphasizes that he has detached the bones and added more joints to those legs. That wonderful flowing tunic is like a magician's cape, concealing how he has sawed a lady in half.
2. Sometimes the best way to draw a big subject is to obscure it in a small corner.
There were plenty of dramatic ways to draw the 1927 death of Isadora Duncan, the famous dancer whose trademark-- an enormous, flamboyant scarf-- became wrapped around the axle of her brand new convertible. Duncan was pulled from her car and choked to death as she was dragged along a cobblestone road in France. An artist could hardly ask for a more visual spectacle. Yet, this is the wonderful, controlled way that Barton depicted it:
|I love Gertrude Stein's stoic reaction when she read the news of Duncan's death: “Affectations can be dangerous.”|
3. A mediocre subject can still be redeemed by a strong image.
The joke on this cover of Puck is not particularly funny or creative:
but man oh man, it is redeemed by Barton's strong graphic treatment. He didn't get discouraged by his text, he redeemed it.
Today the practice is largely the opposite. The dominant assumption is that crappy drawing will be redeemed by profound or moving content.
4. Don't accept standard templates if you have a better idea.
Barton decided that the regular logo for Puck would not go very well with his cover drawing. Rather than compromise his drawing or accept , Barton took the initiative to letter a whole new title and offer it to his client:
It appears from Barton's note that Puck neither requested nor paid for this extra effort. It was something Barton volunteered because he cared about the least details surrounding his art and was not afraid to work.
|Creativity at its best - Peter de Sève in his Brooklyn, NY studio.|
Peter's work has graced dozens of covers of the New Yorker, filled countless pages of news magazines, children's books and novel covers, and may be best known for his highly dynamic and sought after talents on character design for film animation. If you have seen the films of Ice Age then you have seen Peter in action, especially through Scrap the little squirrel chasing that elusive acorn! That little guy is all Peter.
|A few sculptures which help with turn arounds and character consistency.|
Thus those of you who enjoy the appetizer tastes of what you are seeing in these jpgs, will get a chance for a full five course dinner and view many of these works in person!
A few of the large number of contemporary fantastic sculpts inhabiting nearly every horizontal surface in the studio.
I hope you’ll agree that breakthroughs come in handy. Yes?
It’s pretty awesome when the perfect answer appears or that nagging problem is solved. Suddenly, the barrier is removed and you can make progress.
You can’t identify the moment that a breakthrough will happen, but you can prepare yourself for it to come.
Breakthroughs happen as a result of doing the work and being present. Here are 7 ways to accelerate the process.
1. Solve a problem.
Any problem! Art is about solving problems.
How can I balance the composition?
How can I make this with less expensive materials?
How can I convey this or that emotion?
Faith Ringgold was researching shipping options for her paintings when she realized that if she just painted on fabric, without the support, she could roll it up and easily ship it in a tube.
2. Challenge yourself.
There’s very little motivation in the daily grind: update Facebook, schedule a few tweets, send a newsletter, write a blog post, work in the studio. If you’re not careful, you can get stuck checking off menial tasks without doing something extraordinary for your art and for yourself.
Pick a color or a new material that you’ve been avoiding and figure out how to use it in a way that is pleasing.
This is why the Painting a Day phenomenon or 100-day challenges have caught on.
Contrary to the notion that you need absolute freedom to make art, there is ample evidence that parameters can nurture creativity.
3. Talk to people about your ideas.
If you are, as I am, a verbal processor, you will find it useful to discuss ideas with others. Maybe other artists, maybe scientists, or even the philosopher next door.
The only caveat is that you must talk about your ideas with people whose opinions you respect. Discussing ideas with anyone and everyone isn’t helpful to your goals.
4. Change your routine.
If you’re getting the same results while going through the motions day after day, it’s time to shake things up.
Start your day at a different time or go to bed earlier.
Switch your business schedule with your studio schedule.
Don’t look at social media first thing in your day.
Take your walk in the evening instead of the morning.
5. Pay attention.
Wherever you are, be present to all that is around you and the people who are near. Absorb your surroundings with all of your senses.
It might be a walk, an art talk, or a first-class art exhibition.
What do you see? What do you feel? What do you hear? What do you smell?
What does the speaker say that inspires? What do the artworks say to you?
Remember that Picasso’s major breakthrough occurred when he came across African art.
6. Be open.
Think of ways to say Yes to possibilities that you might not otherwise consider. Yes, they might take you off course, but they might also be exactly what you need.
7. Change your environment.
Reorganize the furniture or your materials.
Get out of the studio.
Get out of your office.
Go to a coffee shop. (This is my method for writing breakthroughs. Works every time.)
Get out of your house.
When furniture craftsman Evan Sturm came to Art Biz Breakthrough from Montana, he was stuck in part of his business. Like Faith Ringgold, the problem was shipping.
During his stay in Golden, he discovered that his hotel was less than one mile from the very shipping company he wanted to utilize to move his handcrafted furniture across the country. He set up an early morning meeting before our sessions and … Boom! Breakthrough!
Is it time for your breakthrough? Join us for Art Biz Breakthrough November 8-10 in beautiful Golden, Colorado.
For a few more days, you can save $100 on your ticket.
I'm a particular kind of enthusiast for early twentieth century artists, and am always exceptionally excited when I discover a woman artist of the caliber and incredible ability displayed by the work of someone like Lillian Westcott Hale. Her handle on graphite and charcoal work is akin to some of the best Ingres drawings I adore to death She possesses a remarkable and modern sense of design and tonal composition without sacrificing one whit of character in a way I find deeply inspiring. There's a fluidity to her work and subjects unusual for work of this time period- a sort of capturing of the moment between moments usually staged or set and posed. There's a general quality one can find in work by other contemporaries of her time and it's this naturalistic ability that lends to her work an animated humanity that goes well beyond its basic subject matter and sense of being on a page, or in a room. SO this month I'd like to showcase a few of her pieces and basically just nerd-gush over why I think they're fantastic. Because they are damned fantastic indeed.
The hazy atmospherics and foggy veil that overshadows a lot of her paintings is certainly not atypical of other works from this time period, nodding to Marry Cassat as an example of this impressionists influence ont he work of the time, but what Hale does is us it to highlight her brush marks and the artifice of the painting in a way we don't see in full flourish and popularity you see in Bernie Fuchs later on. There's also something distinctly modern int he way her compositions are laid out I find truly interesting- some just a bit offf the usual center, others dramatically so, rendering subtly a sense of the place of her subjects as of equal value as the spaces they themselves inhabit. There's undertones of Jessie Wilcox Smith in some of these to be sure, but where Smith may lean more heavily towards an Arthur Rackham's draftsman's approach, Hale take her cues from the less tangible atmospherics of Claude Monet.
You can find some of her work on view at the Boston Museum of Fine Arts and I believe also in Chicago and and in the National Gallery in Washington D.C. I plan on making her part of any treasure hunt I perform in any museum to see if some of her pieces are hidden away there. But in the interim you can track down a lot of her work online via whatever search tool you prefer to use.I myself have an entire folder of work I pull up for inspiration almost every day. Hale fever has set in for sure.