Every so often, I like to check back on artists that I’ve written about previously and see if the internet, in its seemingly endless capacity to expand and grow, has graced us with additional image resources for the artist’s work that I didn’t offer in my original post.

In the case of Golden Age illustrator Charles Robinson, who I wrote about in 2007, I’m delighted to say the answer is an emphatic yes.

You might say that illustration was in Charles Robinson’s blood, his father was an illustrator, as were his brothers Thomas Heath Robinson and William Heath Robinson. Elder brother William is the best known of the three, and Charles is sometimes in his shadow, Thomas definitely so.

It’s unfortunate that the work of all three brothers doesn’t receive the attention it deserves.

The good news is that those additional resources I mentioned include several complete books illustrated by Charles, and one with work by all three brothers, now available on the Internet Archive. These, unlike some illustrated books featured on the Archive, have quite good reproductions of the illustrations.

The books feature both color reproductions and a wealth of Robinson’s beautiful ink drawings, reproduced better and in more quantity than I’ve previously seen, and I have to say they have raised my appreciation of Robinson as a pen and ink artist.

Each of the books can be flipped through page by page, or accessed through a page of thumbnails. In addition to the full illustrations, there are numerous spot illustrations and page decorations.

[I found the Internet Archive entries courtesy of this post on The Art of Charles Robinson on “{ feuilleton }”, the blog of artist and designer John Coulthart, and I recommend browsing through his Illustrators Archive (Time-Sink Warning).]

Christopher Peterson is an illustrator known in particular for his rock posters. He also does a variety of illustration, storyboards, set designs and exhibit concept designs.

Originally from New York, Peterson studied at the Art Institute of Boston and the Art Center College of Design in Pasadena. His clients include Time Magazine, The New York Times, The San Francisco Chronicle, Readers Digest, Fortune, McGraw-Hill, Watson-Guptill, Macy’s, Courvoisier, Warner Brothers, Joe Boxer and Bill Graham Presents, among others; and his rock posters have included such performers as Paul McCartney, Phish, The String Cheese Incident, Sting, Eric Clapton, Elvis Costello, John Hiatt, Taj Mahal and Gloria Estefan.

Peterson’s approach varies from relatively highly rendered, to painterly to loose and sketchlike. His website features sections for posters, illustration, concept renderings and sketches, and you can find an additional portfolio of his work on the Shannon Associates artists’ representative site.

I particularly enjoy the fun conceptual devices he employs in his rock posters, with band names and concert information arrayed on grain elevators, buildings, room interiors, train cars and the like.

Based in Madrid, Spain, Felideus (pen name for Juan Parra) has worked as an art director, animator, screenwriter and graphic designer for film and video productions, and is now a freelance illustrator, designer and writer.

As a writer and illustrator, Felideus has worked on book projects and in comic books.

He works both in traditional media like watercolor, acrylic, pencil and ink, and in digital media, using applications like Photoshop and Painter.

Felideus maintains a blog which also functions as his website, though the Portfolio section is labeled as Under Construction, and points to his portfolios on CG Society, deviantART, CG Gallery CGHub and Behance.

These appear somewhat redundant. I found the ones on CG Society or CG Hub as complete as any.

His blog, however, provides discussion of the work, names the projects for which the illustrations were intended, and provides additional images, including detail crops and in some cases, step-through process in the form of animated GIFs. The most recent blog entries feature translations of the text in four languages.

Felideus’ highly rendered, richly detailed style feels fresh and resists any feeling of being overworked, partly because of his superb use of value and color, and partly in his use of texture, contrasting highly detailed passages with areas that are almost flat. I particularly like the way he uses a limited palette and deft control of value, to push layers of an image back and dramatically bring others forward.

His more recent images, some of which are part of an advertising campaign for Buskers beer, and a few of which are for an in progress book project called “The Automatic Forest” (images above, bottom two) carry echoes of some of the Golden Age illustrators who worked in detailed and highly textural styles, like Arthur Rackham and Gustav Tenggren. Felideus manages at the same time to make his images feel ancient and modern, and uses his digital tools to great advantage.