Lines and Colors art blog
  • James Gurney’s Living Sketchbook app

    James Gurney's Living Sketchbook app
    One of the most fascinating ways to see into the mind of an artist is to have the opportunity to look through their sketchbooks. This is not often possible; sketchbooks are frequently personal, full of unfinished thoughts and experiments and seldom volunteered for display by the artists themselves.

    When the opportunity does arise, it’s a treat, as well as being instructive for fellow artists in a manner similar to watching an accomplished artist work.

    I’ve had the pleasure of meeting author, illustrator and plein air painter James Gurney on a few occasions, and I’ve had an opportunity to briefly look through a couple of his sketchbooks.

    Gurney’s sketchbooks are filled with location sketches from his extensive travels, as well as his day-to-day activities in his home town. He is an inveterate sketcher in watercolor and gouache, and he records what he sees, whether a classically beautiful scene in the mountains, of the view out the window of the waiting room for a tire service center, painted while waiting to have tires changed. He is so accomplished that even his most impromptu location sketches are lively and beautifully rendered.

    I found myself wishing that I could spend more time looking through his sketchbooks at leisure, and thought that they would make good subjects for publication of some kind, perhaps offered as PDFs if not printed books.

    I was recently pleased to find out that Gurney has apparently been thinking along the same lines, only much in advance of what I was thinking, when I received a review copy of a new app for iOS and Android that Gurney has developed in cooperation with his son, Dan Gurney.

    The Living Sketchbook is an app that provides a virtual sketchbook experience. Not only does it allow the viewer to go through the pages of a sketchbook, but also includes audio, and sometimes video, commentary by the artist about the pieces, as well as giving access to additional information about the painting, subject and materials. It’s the next best thing to going through a sketchbook while standing there with the artist as he comments on it for you.

    I’ve done some iOS app development myself, as well as creating numerous web interfaces in my role as a website designer, and I will give the app a big thumbs up for the accommodating the most important factor in an interface like this — presenting the material in an easy to use manner and then getting out of the way while you enjoy. It’s hard to overstate how many apps, websites, games, gadgets and desktop applications get that wrong.

    At the moment, The Living Sketchbook ships with one sketchbook included, this one is called “Boyhood Home”. Gurney names his sketchbooks, and enjoys creating fun hand painted typography for their covers.

    The app allows you to simply thumb through the images as if through a physical sketchbook, and at will pinch to zoom into the image. Unlike some poorly designed interfaces for viewing images (I’m looking at you, Instagram), Gurney’s app allows the zoomed image to stay at full size when you let go, and programming by Dan has even provided some subtle touches of physics in the reaction of the scroll as you nudge the image around in the window.

    You can also access a row of thumbnails at any point as well as bring up an overlay of information about the painting.

    The Living Sketchbook is $4.99 and is available for iOS and Android. You can find links to the app for both platforms in this article on Gurney’s blog.

    There is a trailer and teaser for the app on YouTube, that give a better idea of how the app functions, and Erwin (Cherngzhi) Lian, who knows a few things about sketchbooks, has a more extensive review on his blog.

    It may be restricted to relatively current versions of the operating systems, so if the respective app stores don’t allow you to purchase it, that may be the factor. I couldn’t view the app on my older iPad 3 (Retina), because it’s too old to run the required version of the OS, but I could view it fine on my newer iPhone 6.

    So bear in mind the the screen captures used for my exmaple images above are from an iPhone, and the app will view quite differently and more effectively on a tablet.

    I was actually surprised, though, at how effective it is to view zoomable images of the paintings on the relatively small iPhone screen. I can easily see popping an app like this open for inspiration while taking a break when out location painting.

    I’m already looking forward to the release of the next sketchbook.

    [Addendum: For those interested in the process, Dan Gurney has posted on his blog an article on Building the Living Sketchbook App.]



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  • Eye Candy for Today: Pissarro’s Boulevard Montmartre, Spring

    Boulevard Montmartre, Spring; Camille Pissarro
    Boulevard Montmartre, Spring; Camille Pissarro

    Link is to a zoomable version on the Google Art Project; there is a downloadablve version on Wikimedia Commons. Google’s listing indicates the original is in the collection of The Israel Museum, Jerusalem; but I can’t find it in their online database.

    This is one of the remarkable series of paintings of Pissarro’s views of the boulevard Montmartre from a room he rented in Paris in the fall of 1896 and Spring of 1897.

    In it, as well as in the other paintings in the series, Pissarro explored the same subject in a variety of seasons, times of day, light and weather conditions, and continued the practice by the Impressionist painters of painting scenes of everyday life. In itself, the latter practice, following the lead of Gustave Courbet, was as radical at the time as the Impressionist’s approach to brushwork and color.

    In this painting in particular, I love the colors in the shadows (don’t let anyone tell you the French Impressionists didn’t use grays), and the wonderful textural quality of the paint evident in the large reproductions.



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  • Bernie Wrightson

    Bernie Wrightson, oen and ink Frankenstein illustrations, Horror comics, Batman, Swamp Thing

    Bernie (Berni) Wrigntson was an American comics artist and illustrator known for his work on horror comics for DC Comics and Warren Publishing, on titles like Batman and, in particular, Swamp Thing.

    Bernie Writghtson died on Saturday at the age of 68.

    His work on Swamp Thing set new standards for horror comics art and was influential on other artists. Wrightson eventually left DC for Warren Publications, which was publishing black and white horror comics Creepy and Eerie that were printed larger than typical comic books, at magazine size.

    Wrightson was a major figure in American comic book art, and at one point joined together with Jeffrey (Catherine) Jones, Barry Windsor-Smith and Michael Kaluta — like-minded artists who took inspiration from the great Golden Age illustrators — to share a joint space in New York called “The Studio”.

    Wrightson was inspired by 1950’s horror comics from EC, and in particular the work of Graham Ingles and Frank Frazetta, but later in his career the influence of great pen and ink illustrators become more prominent, particularly the fantastic work of Franklin Booth. Those influences became evident in Wrightson’s acknowledged masterpiece, a series of elaborate and beautifully realized illustrations for Mary Shelly’s classic Frankenstein (images above, top two, with details).

    This was not an assignment, Wrightson took on the project in his spare time out of love for the material. The illustrations were initially released as a limited edition portfolio. (A personal note: when I got divorced many many years ago, my ex-wife and I didn’t have any children or a house to argue over, but we wound up splitting joint custody, half and half, of the Frankenstein portfolio).

    The drawings were later used in new editions of the Mary Shelly novel published accompanied by Wrightson’s illustrations.

    Unfortunately, as far as I know, the book versions are out of print. Dark Horse still has a listing for their digital version, also for their collections of work from Creepy and Eerie that include some of Wrightson’s work. The print editions of Frankenstein may still be available used, though prices are likely to go up.

    Wrightson and writer Steve Niles later followed with a comic book adaptation, Frankenstein Alive Alive! (images above, middle) which was published by IDW.

    You may be able to find other Wrightson materials through used book sources, including reprints of some of his classic Swamp Thing issues.

    The best currently in print source for his comics work is probably Creepy Presents Bernie Wrightson, a compendium of some of his work for Warren publishing, meant from the outset to be viewed in black and white, which is how I think his work is at its best.

    Unfortunately, I don’t know of a good major online resource for viewing Wrightson’s work.

    There is an official Bernie Wrightson website, with a bio and image galleries, unfortunately, the images in the galleries are maddeningly small and not well reproduced for the web, though they can still give you an overview of the range of Wrightson’s work.

    There are a few original art pages still for sale directly from the family (as of this writing) through Comic Art Fans, as well as some from other sellers. Nakitomi has Cycle of the Werewolf box sets available.

    Otherwise, I’ll point to some obits and tribute pages that feature some examples of his art. You can also simply try a Google image search.

    Included in my row of example images above, bottom, is a little gem from my own collection — a Bernie Wrightson convention sketch gifted to me by Galactic Geographic artist Karl Kofoed.



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  • John Lavery

    John Lavery
    John Lavery was an Irish painter who spent a good deal of his career living and working in London. He is known primarily for his portraits and his paintings of what he observed in England during the First World War, but I find his landscapes most appealing, especially those depicting water.

    Lavery was acquainted with James McNeil Whistler, an expatriate American who was also living in London at the time, and I think you can see the influence of Whistler on Lavery’s nighttime scenes, landscapes and many of his portraits.



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  • 101 Great Illustrators from the Golden Age, 1890-1925

    101 Great Illustrators from the Golden Age, 1890-1925
    Discovering art that you love by artists whose work is new to you can be a little like meeting a person to whom you’re romantically attracted — there’s an initial rush of infatuation that is so pleasurable the feeling can be addictive.

    Growing up in northern Delaware (in a house a few hundred yards from the home of O.C. Darley), I developed an early appreciation for some of the great illustrators of the late 19th and early 20th centuries — notably Howard Pyle, N.C. Wyeth and other artists of the Brandywine School.

    But when I started to expand my exploration of the amazing work produced in that era, and discovered the work of other American and European illustrators active at the same time, I became so dazzled and entranced that I started searching out any books I could find on these amazing artists. Each new discovery was jolt of artistic pleasure.

    As I haunted used bookstores and university libraries, looking to discover more artists from this astonishingly fertile period of great illustration — rightfully known as the “Golden Age of Illustration” — I occasionally came across books that were motherloads of treasure in this respect, compendiums of artists from the era with reproductions of their work, books that were a pleasure in themselves and as well as a gateway to more discovery.

    There have been several books of that sort over the years, and I’m happy to have some of them, but I’ve often had to hunt and pay more than I would like to get them. Overviews of great illustrators tend to be released and then go out of print quickly, leaving the searcher looking longingly at overpriced rare book listings.

    I was delighted, then, to recently receive a review copy of a new book from Dover Publications that is exactly such a treasure.

    101 Great Illustrators from the Golden Age, 1890-1925 is not a rerelease but a brand new book in the grand tradition of overviews of great illustrators, and it is one of the best of the lot.

    Author Jeff A. Menges has done a superb job of choosing a fantastic array of artists, providing representative and dazzling examples of their work and presenting them with succinct, erudite commentary that introduces you to each artist and puts them in the context of their time. Every illustrator has at least two pages devoted to images of their work, in some cases four.

    I addition to including favorites like Howard Pyle and N.C Wyeth, the book features a who’s who of Golden Age illustrators — Walter Crane, Edmund Dulac, Maxfield Parrish, Arthur Rackham, James Montgomery Flagg, Harvey Dunn, Charles Dana Gibson, Charles R. Knight, Edward Penfield, Frederic Remington, J. Allen St. John, Elizabeth Shippen Green, Violet Oakley, Alphonse Mucha, Jessie Willcox Smith, J.C Leyendecker, Edwin Austin Abbey, Franklin Booth, Joseph Clement Coll and… well, I’m going to run out of room before I run out of fantastic illustrators to list.

    Each article can leave you torn between reading on to the next great illustrator, or rushing out to look for more work by the fantastic artist you just discovered (or rediscovered).

    This is a “gateway” book if there ever was one, a path to discovery and a beautiful joy in itself. If you have any feeling for Golden Age illustration, you will “fall in love” several times over in the course of going through its profusely illustrated pages.

    Dover has done an amazing job of delivering an effective and pleasing book design and high production values that showcase over 500 images of beautiful illustration, both color and pen and ink, in a 250+ page volume — and somehow kept the price to $35.00 (not a typo — thirty five). [Note: If Dover’s ad is still running in the right column as you read this, you can use the code at the bottom of the ad to get an extra 25% off on this book along with other Dover fine art books.]

    The Dover website gives more detailed information about the book, though it doesn’t offer a preview; the Amazon listing has a preview of some of the pages.

    I’ll make the usual disclaimers and point out that Dover is an advertiser on Lines and Colors, and provided a free review copy, but if they hadn’t, and I found this in a book store, I would have bought it the instant I saw it and gleefully run home with it tucked under my arm like the treasure it is.



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  • Ernst Ferdinand Oehme

    Ernst Ferdinand Oehme, German Romantic landscape painter
    Ernst Ferdinand Oehme was a 19th century German Romantic landscape painter noted for his darkly atmospheric landscapes and paintings of architectural subjects.

    Oehme studied with the highly regarded Danish painter Johan Christian Dahl, and through him met Caspar David Friedrich. The influence of both painters is evident in Oehme’s initial choices of subject matter and approach.

    Later in his career, Oehme shifted his focus from the symbolism and emotional content of his early landscapes to more naturalistic subjects.



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Vasari Handcraftes artist's oil colors

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
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics

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
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics