Lines and Colors art blog

Month: November 2007

  • Jennifer McChristian

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    cparker
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    Since the trans-continental railroad was completed in 1869, California’s warm climate, abundant sunshine and varied landscape has attracted plein air painters. (See my post on Granville Redmond.) Jennifer McChristian came from Montreal, Canada, where she was born and began her study of art, moved to California, and received her BFA from Otis Art Institute (now…

  • Sim-r (Simon Rodgers) (update)

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    cparker
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    When I first wrote about Simon Rodgers about a year ago, I pointed out that I knew almost noting about him, except that he is a concept artist working in the film industry, who likes to work and sketch digitally. His eerie and dramatic landscapes, imaginative environments, mysterious caverns and enigmatic structures are rendered with…

  • Jeffrey Smith

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    cparker
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    Jeffery Smith is a California illustrator who employs a palette of rich colors and deep chiaroscuro in the service of compositions that illustrate a broad range of subjects, from portraits, sports, romance and travel, to crime, mystery, conflict and war. Smith seems to be able to break down the objects, figures and settings in his…

  • Colors! and Inchworm: digital painting applications for Nintendo DS

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    cparker
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    Since I first was introduced to computer graphics back in 1994, I’ve wanted a digital sketchbook. My wife still kids me because that year, after I was introduced to digital art by working with Photoshop on a friend’s Mac, I took a Photoshop book to the beach with us and read it like a novel,…

  • V Water animated ad

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    cparker
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    Ever since I first saw Chuck Jones’ wonderfully imaginative and brain-tinglingly loopy Warner Brother’s cartoon Duck Amuck as a kid, I’ve had a weakness for cartoons that break the fourth wall (i.e. the invisible barrier between audience and characters in the entertainment), particularly in the oblique way of having an animated protagonist encounter the animator…

  • Gustave Moreau

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    cparker
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    Staring into the dark, bejeweled recesses of Gustave Moreau’s hallucinatory interpretations of a classical mythology that apparently came from some alternate dimension, it’s difficult to grasp the idea that, as respected professor at the École des Beaux-Arts in Paris, he was an influential teacher of Henri Matisse, Georges Rouault and Pierre Bonnard, and hung out…