Ariduka55, illustrations

Ariduka55, illustrations

Ariduka55 is the handle of an unnamed Japanese artist who, among other subjects, has a series of images in which humans are juxtaposed against unnaturally large animals, both real and imaginary.

These are presented in a style that is influenced by concept art, anime, and in particular, the anime designs of Hayao Miyazaki and Studio Ghibli.

I can’t find a normal website for the artist, other than Tumblr and Twitter, and a Pixiv site (that requires an account to view more than the first few images).

[Via Design You Trust]


N. C. Wyeth

N. C. Wyeth illustrations and landscape paintings

N. C. Wyeth illustrations and landscape paintings

When I first started Lines and Colors back in 2005, I actually wondered if I might run out of artists I admire to write about. Some fourteen years and several thousand posts later, my list of potential subjects is longer than the lost of those I’ve covered.

There are some artists, however, who are among my very favorites, that I have not yet covered. In the case of N. C. Wyeth, I’ve allowed myself to be intimidated by the task of conveying my respect and and enthusiasm for his work, and I’m remiss in not getting to this post sooner.

Along with his teacher, Howard Pyle, Newell Convers Wyeth was both one of America’s best and most beloved illustrators, and one of America’s great painters in any sense.

Given Pyle’s stature, influence and level of accomplishment, it’s no mean feat that — in my opinion, at least — the student surpassed the master in many respects.

While Pyle brought a new level of dynamics and drama to previously staid and theatrical approaches to illustration, Wyeth took his teacher’s mastery of drama and cranked it up to 11, placing the viewer on the edge of impending action or danger.

In the process, Wyeth developed a dramatic and remarkable use of light and strong value contrasts, often setting a foreground character in deep shadow against a brightly lit background.

Wyeth was also a master of texture, and many of his settings and backgrounds resound with a beautiful naturalism that owes much to his secondary practice of landscape painting.

If you search, you will find many references to N. C. Wyeth’s career as an illustrator, both in collections and reproductions of the classic books he illustrated, titles like The Black Arrow, Robin Hood, Treasure Island, Kidnapped, The Mysterious Island, The Boy’s King Arthur, The White Company, The Last of the Mohicans and many others.

What you will see less often, but can find with some digging, are examples of Wyeth’s landscapes, both of the area around Chadds Ford, Pennsylvania — where he settled after moving to the area from his home in Massachusets in order to study with Pyle — and of the area around his eventual summer home in Maine.

In his landscapes in particular, but also in his illustrations, Wyeth was a restless experimenter. He was familiar with Daniel Garber and other artists of the nearby New hope school of Pennsylvania Impressionists, and many of his paintings draw on Impressionist technique. You can also see the influence of regionalist painters like Thomas Hart Benton and Grant Wood.

Wyeth taught all of his children art, most notably, his son, Andrew Wyeth. N. C. was an imposing figure, both in personality and in his ability, and I have to wonder if his overwhelming command of drama and bold color led Andrew to choose his path of muted colors, textural paint application and contemplative subject matter.

N. C. Wyeth also did commercial illustration, murals, still life and other subjects. There are significant collections of his work in the Farnsworth Art Museum and the Portland Museum of art in Maine, and in particular, in the Brandywine River Museum in Chadds Ford, PA.

I grew up in the area around Wilmington, Delaware and the Brandywine Valley, and I’ve been going to the Brandywine River Museum since it opened while I was in my early 20s. N. C. Wyeth has been a big influence on my appreciation of art in general and illustration in particular.

The museum ordinarily has an extensive exhibit of N. C. Wyeth’s work — as well at the work of his son, Andrew Wyeth, and his grandson Jamie Wyeth — but at the moment there is a special exhibition, N. C. Wyeth: New Perspectives, that features work drawn from the permanent collection, as well as many pieces borrowed from other museums and private collections, and includes a number of his rarely seen landscape paintings.

The exhibit runs until September 15, 2019.

There is a catalog accompanying the exhibit, and there are a number of other books with Wyeth’s work, including beautiful hardbound reproduction editions of many of the classics he illustrated as well as collections, like Visions of Adventure: N. C. Wyeth and the Brandywine Artists, that offers and introduction to some of his contemporaries and other students of Howard Pyle.

There is also a Catalogue Raisonné of his work, expensive as a two volume boxed set, but accessible in an online version courtesy of the Brandywine River Museum that is one of the best places to see some of N. C. Wyeth’s landscapes, even if reproduced smaller than we might like.


Jean-Pierre Gibrat

Jean-Pierre Gibrat, French comics artist, Flight of the Raven, bandes dessinées

Jean-Pierre Gibrat, French comics artist, Flight of the Raven and others, bandes dessinées

Jean-Pierre Gibrat is a French comics artist and writer noted for his graphic historical novels set during wartimes in France.

He gained the attention of American readers of European comics with the translated version of his 2002-2005 graphic novel, Flight of the Raven, set in Paris during the WWII occupation.

The book is beautiful, filled with lush evocations of Paris. Gibrat studied various locations in pen and watercolor before translating them into story backgrounds in his comics drawing style, which is also done in pen and watercolor. Gibrat is also noted for his appealing depictions of female characters, and his attention to the visual details of everyday life.

Flight of the Raven was preceded by a related story (but not a direct prequel) set in the same time period, The Reprieve, and was followed with a three volume story, Mattéo. — also set against the backdrop of war, but further back in time, in this case WWI.

You can find a number of his books on Amazon, some translated into English, some in French and other language editions.

The Reprive and Flight of the Raven were published in multiple volumes in France (three and two volumes, respectively) but were combined into single titles in the English language versions. The three French volumes for Mattéo are apparently being translated individually; only one has been released so far, the second English language volume is due in November of 2019.

Though he is both the artist and writer for his current work, Gibrat’s history of comics art goes back further, through collaborations with Jackie Berroyer and other writers, and work in the French comics magazine Pilote.

As far as I can determine, Gibrat does not have an official website, so I’ll point you to what resources I can find. You can also just try a Google images search for “Jean-Pierre Gibrat“.

[Note: Some of Gibrat’s work is erotic in nature, particularly a graphic novel titled Pinocchia, and a search may turn up images that are NSFW.]


Heinrich Berann’s panoramic map paintings

Heinrich Berann's panoramic map paintings of US national parks

Heinrich Berann's panoramic map paintings of US national parks

Heinrich Caesar Berann was a painter and cartographer from the mountainous region of Tyrol, Austria.

In the latter part of the 20th century, he was commissioned by the U.S. National Park Service to create panoramic map paintings of several of our national parks. These are available online as fairly large images on Wikimedia Commons, at resolutions of roughly 3500 x 5000 pixels (about 8 to 10 MB file size).

I’ve posted an image and two detail crops of his painting of Yellowstone above. The bottom one is about maximum resolution of the image on Wikimedia.

The National Park Service has published super high resolution images of four of the paintings at more than twice that resolution and considerably bigger file size (roughly 100 MB).

Berann also did imaginative figurative paintings and more down to earth location drawings, which you can find on a website maintained by one of his grandsons.The site includes a list of all of Breann’s panoramas of locations in various countries on several continents.

(I previously featured a contemporary artist, James Niehues, who applies a similar approach to images of ski and golf resorts.)

[Via Boing Boing]


New Argon Zark! webcomic page

Argon Zark webcomic new page

Argon Zark webcomic new page (detaile)

It’s not that often that I feature my own work on Lines and Colors, but this is special occasion for me. I’ve just posted the first new page to my webcomic, Argon Zark!, in quite some time.

I’m really pleased to have the comic moving again, and looking forward to continuing the story. (It will not interfere with my work on Lines and Colors. If it garners enough support, it may actually free up more time for writing Lines and Colors posts.)

For those who are familiar with Argon Zark!, you can see the new page here.

If you’re not familiar with the comic, but are curious about my endeavor, start with the first page of the current story, or go to the home page.

You can also read my recent Lines and Colors post with a little background about the comic, and about how I’ve gone over the current story and brought it up to date with bigger graphics and current web technology: Argon Zark! remastered.



Alyssa Winans

Alyssa Winans, illustration

Alyssa Winans, illustration

Alyssa Winans is an illustrator and concept artist for the gaming industry based in the San Francisco area. She is also a Google Doodle artist.

Winans often uses restrained palettes, along with subtle graphic and textural elements, to give her subjects presence and focus. I enjoy the way she controls her values in textural passages, usually in contrast to the overall value dynamics of the composition.

Her website has a selection of her illustrations and spot illustrations, as well as Google Doodles (see my posts on Google Doodles).

You can also view a somewhat wider selection of her work on her Behance portfolio, as well as on her Tumblr and Instagram accounts.

Winans has prints of her work available on inPrint.