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Promoting some friends and some clients of my website design business
- Twin Willows T’ai Chi studio in Wilmington DE. Taiji classes with Bryan Davis.
- Ray Hayward, Inspired Teacher of T’ai Chi ( Taiji ) in Minneapolis, Founder of Mindful Motion Tai Chi Academy
- OldHead Tattoo studio and Art Gallery in Wilmington DE. Tattoos and paintings by Bruce Gulick
- Sharon Domenico Art, pet portrait oil paintings
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- Lisa Stone Design, interior designer, Main Line and Philadelphia, PA
- Studio12KPT, original art, prints, calendars and other custom printed items by Van Sickle & Rolleri
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Jeremy Lipking

Value is one one of the most overlooked and misunderstood properties in painting. No, I don’t mean $Dollar $Value, the only property that seems to matter to some art collectors, I mean the range of value from dark to light, which is often difficult to separate from hue (the particular color) and intensity (how much color).Jeremy Lipking is a California painter whose work is a study in the understanding and use of value.
He paints landscapes and figures. In both he employs careful control of value contrasts to move your eye and create focus within his images. His compositions are often created in a range of middle or even dark values punctuated by areas of white (or close to it). At other times he will do the reverse, place an almost silhouetted figure against a bright, almost white background.
Lipking shows a marked influence from John Singer Sargent (which is a Good Thing). He also acknowledges admiring the work of Joaquin Sorolla and Anders Zorn, but it is the Sargent influence that I find most interesting. Not that he is slavishly trying to copy any Sargentisms in his work, he has just absorbed elements that he likes and has put them in service of his own approach.
Lipking came from an artistic family and was formally trained at the California Art Institute. He has garnered a number of awards including Best of Show in the Portrait Society of America International Portrait Competition this year.
As you browse through his galleries try to think of the compositions in terms of value. What would they look like if all of the color were removed? In our quickness to be dazzled by color in painting, we often overlook the power of value. Jeremy Lipking does not.
Link via Karen Hollingsworth.
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Bob MacNeil

As mentioned last week on Drawn, Bob MacNeil is a multi-talented illustrator and concept artist with a wide variety of styles.An illustration of his was given a special spotlight in back of the new Flight 3 comics anthology, along with an inspirational story about dealing with tragedy and almost giving up on being an artist.
Fortunately for us, he didn’t give up and is creating illustrations and concept art for a number of projects for toy companies, gaming and TV development, including the new season of Venture Brothers from the Cartoon Network.
He is trained in traditional media. Having worked for a few years in acrylic and oil he made the leap to digital drawing and painting some years ago and finds the speed and flexibility of the digital mediums advantageous.
His approach ranges from highly rendered to simplified and cartoonlike, realistic to highly stylized, indicating an adventurous attitude toward exploring and growing as an artist.
MacNeil also has a blog (with the wonderfully simple name of Bob’s Log, which makes it seem like the term “blog” was invented just for him). The blog often features discussions and step-through demos of his working process.
In addition to the mention on Drawn, MacNeil was recently interviewed on Design Inspiration.
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Bermuda Shorts
Bermuda Shorts is a UK animation firm that lists itself as the first animation company to represent individual animation directors in the commercial animation arena.Their site is organized that way. In addition to showcasing new work, the reels are organized by director and designer. You can also browse them organized by type: commercials, broadcast, promos and short films.
Most of the animations are for broadcast commercial applications, with clients like Volkswagen, American Express, MTV, Nikelodeon, Kraft, Coke, Nestle and the BBC.
There are also a fair number of experimental animated shorts and fun self-promotional pieces, but most of the commercial work is just as fun.
There is a broad variety of approaches between the directors, and all of them seem to be very imaginative and demonstrate the ability to communicate and entertain in short bursts, often 15 or 30 seconds.
The animations are done in a variety of animation media, 2-D cell, Flash, 3-D CGI, stop-motion, photo-montage and altered live action.
Images at left: History of Animation Nicktoons short by Filipe Alcada, Save the Children spot by Ian Bird, Nite Nite Volkswagen ad by Will Barras and Paper Dinosaurs Nickelodeon spot by Model Robot.
Gate: bi-monthly animation contest
Bermuda Shorts is sponsoring a bi-monthly competition called Gate for animation freelancers who want to break into directing, designers looking to move into animation and animation school grads who want to break into the biz.
If you’re chosen, they will feature you on the site as a guest director, bring you into the studio (assuming you’re in reach of London, UK, or can travel there) and promote your work for two months. If you get a positive enough response from the industry they’ll back you with a production team and give you studio space to produce your first job. Details here.
Link via Articles and Texticles
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Stuart Immonen
Stuart Immonen is a Canadian comics artist and cover illustrator with a crisp, confident style. His drawings can have a loose, stylized and modern feel, but are always based on an underpinning of solid draftsmanship.Immonen has done work for mainstream comics companies like Marvel, DC, Dark Horse, Image Comics and the French publisher Les Humanoides Associés. Most of his work in recent years has been for Marvel, where he has worked on high-profile titles like The Hulk, Ultimate Fantastic Four and Ultimate X-Men.
I particularly enjoyed his run on the Ultimate X-Men last year, an 11-issue arc (#54-65) inked by Wade Von Grawbadger and colored by Justin Ponsor.
For those not familiar with the process, mainstream American comics are usually created by an artistic team, the art being broken down into pencil art, final ink drawings and then color, usually applied digitally. This allows for the creation of 22 page continuing stories on a monthly basis. (Personally, I think the old practice of crediting the color artist on a level with the letterer rather than equal to the inker is way out of date. Ponsor’s nice work on this series is a case in point.)
Immonen started in comics by self-publishing a series called Playground. He moved from there to small companies and then the major publishers. In addition to his mainstream comic work, he still produces his own work in the form of webcomics. He has two titles, Never as Bad as You Think and Misery Loves running on the subscription based Webcomics Nation comics portal.
In addition to Immonen’s own site, which is somewhat disappointing in the limited amount and scope of the artwork in the galleries, I’ll suggest the unofficial galleries on Comic Art Community, as well as some interviews from Top Two Three Films (re: their Adventures into Digital Comics film), Sequential Tart, and Newsarama, in which he discusses his 50 Reasons to Stop Sketching at Conventions, a painfully humorous insight into what comic artists sometimes put up with at comic conventions.
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Joan C. Gratz
With the Mona Lisa as a starting point, Joan C. Gratz took paintings by 35 artists, rendered her versions of them in colored clay, animated parts of them and morphed them into one another in a fun, short (7 minute) animation set to music and sound effects called Mona Lisa Descending a Staircase.Aside from Da Vinci’s enigmatic portrait, the majority of the works are from the 20th Century. Particularly fascinating are the sequences where she morphs a face or figure from one painting into a face or figure form another. It’s nicely done and fun just to try to identify as many of the artists and paintings as you can.
(Although Duchamp is in evidence in the image of his mustache and goatee’d postcard version of the Mona Lisa, seen here morphing into Magritte’s The False Mirror, I didn’t see the titular Nude Descending a Staircase.)
Gratz works in a fascinating animation technique (which I believe she pioneered) called “clay painting” in which colored clay is used as if it were paint. The advantage is that the clay can be repositioned and re-blended in a way the permits the creation of stop-motion animation, similar in principle to the the 3-D stop motion process used in popular films like Tim Burton’s The Nightmare Before Christmas, Nick Park’s The Curse of the Were-Rabbit and an entire school of Eastern European animation called Puppetfilm.
Mona Lisa Descending a Staircase won the 1002 Academy Award for Best Animated Film. Gratz also applies her clay painting animation technique to commercial work and you may have seen her spots for Coke, Wishbone and Microsoft. If not, they are beautifully done and well worth checking out.
Gratz is also the author of a new book of yoga humor (yes, yoga humor) called Downward Facing Frog (Amazon link, more details on her site).
Link via Nita Leland’s Exploring Color and Creativity. Leland’s own new book The New Creative Artist is also available from Amazon.
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Yves Tanguy
Imaginary landscape has long had a place in art, from the idealized classical landscapes of the Renaissance and Baroque eras to the imaginary worlds and alternate histories of modern fantasy and science fiction art.Yves Tanguy painted landscapes from the world of impossible dreams.
Tanguy had no format artistic training. After leaving military service in 1922, he began sketching cafe scenes in his native Paris. He came across the work of Giorgio de Chirico, a painter who was also an inspiration for the Surrealists, and was so affected by it that he decided to dedicate himself to painting.
He encountered the Surrealists themselves not long after and became an official member of the group. (Surrealism wasn’t just a style, it was a movement, a “revolution”, led by poet Andre Breton.) His painting style matured rapidly and in a few years he was exhibiting with artists like Jean Arp, Joan Miro, Max Ernst and Pablo Picasso.
Tanguy’s hauntingly strange images depict landscapes (for lack of a better definition) populated with unreal objects, but painted with a realism that makes them tangbile. Like Max Ernst, Tanguy is often missed in the attention paid to the more recognizable stars of Surrealism like Dali and Magritte. Also like Ernst, he is one of my favorites, and I find his paintings have a fascinating ability to pull you in and immerse you in that state where the rational and irrational meet and mix.
His work was inspirational to the other Surrealists as well as subsequent painters, modern illustrators like Richard Powers (see my post from yesterday) and even your humble writer. (I did my little nod to Tanguy in this early page from my webcomic back in the mid-90’s.)
In some ways Tanguy was the purest of the Surrealist painters, adhering more consistently to the ideals of unconscious imagery as extolled in the Surrealist manifestos and periodicals (to which he contributed). Tanguy married painter Kay Sage and moved to the U.S. in 1940, eventually becoming a citizen.
Unfortunately, the best book I know of about Tanguy, Yves Tanguy and Surrealism is out of print and a bit expensive if you can find used copies.
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Charley’s Picks
Bookshop.org
(Bookshop.org affilliate links; sales benefit independent bookshop owners; I get a small percentage to help support my work on Lines and Colors)
John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective
Charley’s Picks
Amazon
(Amazon.com affiliate links; sales go to a larger yacht for Jeff Bezos; but I get a small percentage to help support my work on Lines and Colors)
John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective











