Lines and Colors art blog
  • David Leffel

    David Leffel
    David A. Lefffel is highly regarded and influential contemporary painter of still life and figurative works.

    There is something about his still life paintings in particular that makes him one of my favorite contemporary artists. Leffel has an extraordinary sensitivity to edges, texture, color harmony and value relationships, that makes his still life subjects simultaneously lively and deeply contemplative.

    His mastery of chiaroscuro is an immediate clue to the high regard he holds for the work of the Baroque masters, and his portraiture is infused with a love of Rembrandt in particular.

    Leffel studied at the Parsons School of Design and Fordham University, and at the Art Students League in New York, where he encountered Frank Mason, a well known 20th century painter and teacher whose regard for the old masters was second to none.

    Leffel went on to teach at the Art Students League himself for 25 years. In both his teaching and his published instructional materials, as well as his own work, he has influenced a number of contemporary artists. If you’re not aware of Leffel, but his style and approach look familiar to you, it’s likely because you’ve encountered one of the numerous artist who have been been so enamored of his work that they have tried to adopt overt characteristics of his style.

    Some of those who have been influenced by Leffel have gone on to be superb painters in their own right, developing out of his techniques a mature individual style of their own. One in particular is Sherrie McGraw, another of my personal favorites among contemporary still life painters. McGraw is Leffel’s partner both in life and in a joint venture of Bright Light Publishing and Bright Light Fine Art.

    Bright Light Publishing publishes books and instructional DVDs by Leffel and McGraw (as well as a few titles on Nicolai Fechin —see my post on Fechin’s drawings).

    Bright Light Fine Art is a newer collaborative venture, along with still life painter Jacqueline Kamin, that provides instructional materials by all three artists by subscription/membership in the Artists Guild. I’ve recently signed up, and will try to provide a review in a subsequent post.

    Leffel’s own website features galleries of his work as well publications and listings of workshops. Of the two main books available that feature Leffel’s work and teaching methods, one is specifically about his remarkable series of Self-Portraits, the other is more general and is titled An Artist Teaches.

    I have not yet gotten my copy of An Artist Teaches, but I have a copy of an older book, Oil Painting Secrets by a Master by Linda Catura. In it, Catura, former student of Leffel’s at the Art Students league, has taken quotes from Leffel’s lectures and put them together with images of his work. A nice idea, but the book is severely flawed by several of the reproductions being of unacceptably poor quality. Apparently, the book was not proofed before going to print, either originally or in reprint. It’s still worthwhile for fans of Leffel’s work, but I would go with one of the newer books first. (If you happen to order your paint from Vasari Oil Colors, as I do, you can order Leffel’s two main titles, and one of McGraw’s, through them as well.)

    You can find some clips from various videos of Leffel teaching by searching on YouTube.

    David Leffel’s work will be on display in an exhibition at George Stern Fine Arts in West Hollywood, CA, until November 9, 2013.

    Several of the works shown above (though not all) are part of the show. There is a review of the show on Fine Art Connoisseur. A new catalog, Life and Still Life, is available through Leffel’s website.



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  • Eye Candy for Today: Samuel Palmer graphite drawing

    Ancient Trees, Lullingstone Park, Samuel Palmer
    Ancient Trees, Lullingstone Park, Samuel Palmer

    Graphite on cream wove paper, 10×15″ (26x37cm)

    In the collection of the Yale Center for British Art. In addition to a zoom, the museum’s page includes a download link from which you can download medium-resolution (1mb) and high-resolution (18mb) versions of the image.

    Also available on the Google Art Project and Wikimedia Commons (hi-res 6mb).

    In the midst of all of the options for traditional and digital media available today, it’s sometimes easy to overlook the wonders of the humble pencil.

    See my previous posts on Samuel Palmer and Pencils.


    Ancient Trees, Lullingstone Park, Yale Center for British Art

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  • Mike Yamada

    Mike Yamada
    Mike Yamada is a visual development artist at Dreamworks Animation, whose credits include Kung Fu Panda, How to Train Your Dragon, Bee Movie and Monsters vs. Aliens, among others.

    Most of the work on his blog is from personal projects, or demos done for his classes at the Art Center College of Design. A number of the pieces are from book projects and are collaborative with his partner, artist Victoria Ying. The two share a design studio called Extracurricular Activities, which is also the name Yamada has taken for his blog.

    Yamada’s work ranges from moody and detailed in some of the earlier visual development pieces, to light, whimsical and delightfully stylized. He and Ying seem to have nicely combined the two approaches in the storybook project, Curiosities.



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  • Belinda Del Pesco drypoint prints with acrylic sheets

    Belinda Del Pesco drypoint engravings on acrylic sheets
    Belinda Del Pesco has some fascinating posts about making drypoint prints using sheets of acrylic — commonly known under brand names like Plexiglas or Lexan — as the plates, instead of traditional metal plates.

    Drypoint has long been an alternative or addition to traditional etching techniques. It is advantageous in that scratching the lines directly into the plate, rather than scraping away an acid resistant coating to allow an acid bath to etch the lines, is a simpler and less demanding process. It also produces a different character of line, with slightly raised edges above the cut lines giving the final inked and printed lines a softer, more informal character.

    I wasn’t aware of using the process on non-metal plates, however, and was fascinated by the idea when I came across Del Pesco’s mention of it, and her tutorial-like demonstrations of the process on her blog:
    Drypoint Engraving: Bubble Bath
    Dry Point on Plexi with Watercolor: Asleep in Rome
    Drypoint on Plexi (Artist’s Proof): Book Escape” and
    Dry Point on Plexiglass with Watercolor: Just Feel the Sun“.

    Del Pesco frequently combines her printmaking techniques with final applications of watercolor. The use of the softer plastic plates, which have more limited print runs than metal ones, seems to work fairly well into the idea of more limited runs of the hand-painted prints.

    I wrote to Del Pesco and she was kind enough to respond with some additional information on the process (and limitations) of drypoint on acrylic sheets:

    “I think the first time I ever used plexi was in the early 80’s in a printmaking class at Santa Barbara City College. It’s an excellent way to make intaglio prints if you don’t have access to acids, or you’re into conducting your art-making in a “green” studio. (No acid, water based inks, no solvents, etc.) If you’re searching for images and ideas online, keep in mind that plexiglass is just one of the trademarked names for the stuff, and it’s also called lucite, perspex, optix (what my local hardware store carries), acrylic, petg (a bit softer) and lexan (a bit harder than plexi), etc., depending on where you are on the globe.

    “If you give it a go, whatever you’re using to engrave the surface (make sure it’s good and sharp) will kick up a burr, and that little flap of plastic – which helps hold your ink and print a somewhat feathery line, is flexible and somewhat fragile. The process of inking, wiping and then a trip through the press will – over a short time – flatten the burrs, and squash out details, making it necessary to go back into the plate to re-touch, and as a result, each print has variations in lights and darks. If you like editions that vary, that’s okay, but some folks wants consistency, and for those artists, it might be best to stick with metal plates.”



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  • Eye Candy for Today: Gao Yan landscape

    Clear Streams in a Summer Ravine, Gao Yan
    Clear Streams in a Summer Ravine, Gao Yan

    On Google Art. Original is in the Hong Kong Museum of Art. Ink on paper 15×69″ (38x175cm)

    A beautiful ink painting from the late Ming Dynasty (17th century).



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  • Vermeer, Rembrandt and Hals at the Frick in NY

    Vermeer, Rembrandt and Hals at the Frick in NY, Girl with a Pearl Earring, Vermeer
    Just a reminder to those on the east coast of the U.S. that several superb masterpieces from the Mauritshuis are currently on this side of the Atlantic, including Vermeer’s iconic Girl with a Pearl Earring.

    Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis just opened at the Frick Collection in New York, where it will be on display until January 19, 2014.

    For more details, see my article on the exhibition from May, when the show made its U.S. debut at the De Young Museum in San Franscisco.

    The Frick website doesn’t give a preview of the exhibition, so refer to the De Young site for that.

    For more on Girl with a Pearl Earring, see the Essential Vermeer website.

    Many of the images of Vermeer’s painting (like many paintings on the web) are wildly inaccurate in color. The color on Essential Vermeer is likely pretty good. If you see reproductions in which her turban is a bright, saturated blue, that’s clue of an inaccurate reproduction. Ironically, the turban was more brilliantly blue when Vermeer painted it — in genuine Ultramarine Blue, which was made from the semi-precious stone lapis lazuli ground to a powder. The pigment is fading in some of Vermeer’s paintings (as well as others) due to interaction with atmospheric pollutants and other factors that are only now being understood by conservators.

    There is a large image on the NPR site, though it is lit in a way that emphasizes the unfortunate fact that the surface of the painting has also cracked over time.

    I still hope to be able to get to see the painting before it, and the other stunning works from the Mauritshuis, travel back to The Hague in January.



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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