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Promoting some friends and some clients of my website design business
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How to Paint a Portrait
(David R. Darrow)
Here’s an interesting take on the process of painting a portrait – from the subjects point of view. Geoff Bouvier had his portrait painted by artist David R. Darrow, who I profiled previously in the context of one of my earliest reports on the practice of creating a “painting a day” and a later related post on the Daily Painters Guild.Darrow worked for many years as an illustrator, but has since moved into gallery painting and commissioned portraits. He received his formal training in illustration at the Art Center College of Design and later had the opportunity to study figure drawing with Fred Fixler.
Darrow has an immediate, painterly style and seems to revel in the physicality of the paint, with lots of luxurious brushstrokes in his subjects and broad swipes of textured color in his backgrounds.
Darrow has galleries on his site of figure paintings, charcoal sketches, his “Everyday Paintings” and a selection of recent works. He also has a page of information on how he approaches commissions, a subject that is explored in much more detail by subject Geoff Bouvier in a five page article he wrote for the San Diego Reader in June.
Darrow has since posted the article on his web site, filled out with larger images and some annotations and comments on the process.
The intention to write the article was there from the start, and the result is a talkative process in which Geoff asks Darrow about his methods in addition to observing them.
Although he takes some photographs for reference, Darrow is working from life in a traditional process that starts with a color sketch, then works from a charcoal drawing through the finished painting.
It’s enlightening to get the impressions of both the sitter and the artist on what is generally a non-verbal process. In the course of the article both reveal their thoughts about expectations, the likeness, the artist’s intention and the sequence of events in the course of painting a portrait.
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Glen Angus

It’s always particularly sad when my first post about an artist is to mark their untimely passing.Glen Angus was talented illustrator, concept artist, designer and storyboard artist. He died suddenly last Thursday night.
Angus was a Senior Artist and major contributor to game developer Raven Software and there is a tribute page posted on their site, which includes an address for a memorial fund for his family.
His clients also included Wizards of the Coast, for which he created imaginative and fun illustrations for their popular Magic: The Gathering collectable card game.
His site includes galleries of paintings, pencil sketches, concept designs, storyboards and illustrations. The “For the Young at Heart” section includes children’s book illustrations.
His portfolio on CGSociety includes his delightful illustrations for a proposed children’s book Filling Valhalla as well as numerous drawings and illustrations.
There is page of his “Victory Gals” project on ConceptArt.org, in which he works in modern digital painting techniques in Photoshop and Painter in a series of themed images that harkens back to WWII aviation posters (image above, left).
The last part of Angus’s life was consumed with his efforts to secure treatment for his two year old son, Teddy, who was diagnosed with autism in December of 2006.
Children with autism respond to early intervention, but in many states, like Angus’ home state of Wisconsin, there is an unfortunately long waiting list for aid in acquiring the expensive therapy; and therapy is often critically delayed through periods when it could be of the most benefit to the child.
As part of his effort to change this and the unhelpful current policies of most medical insurance companies, both for his own son and other children, Angus created poster with his illustration of his son as he pictured him, as child trapped inside the barriers of his own mind, without voice (image above, right).
All of the interior pages on Angus’s site are now prefaced with his explanation of the situation, a large version of the poster image and some information on contacting the governor’s office in his state.
I don’t know much about autism, but I’ve tried to provide a couple of jumping off points for information in the links below, as well as a list of links to pages and galleries with Angus’ artwork. It’s now up to others to carry on his fight.
Addendum: The CGSociety has posted an extensive tribute page for Glen Angus.
[Information and links courtesy of Charles Morrow and “Dominus Elf“]
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J.M.W. Turner

Joseph Mallord William Turner is often mentioned in the same breath as John Constable, as they were the two preeminent English landscape painters of the Romantic era, and two of the most important landscape painters period.In the canons of modern art criticism, Turner is considered more important. His search for atmospheric effects and the emotional drama of color, which led to dramatic canvasses roiling with waves and clouds, are seen as a precursor to Impressionism and Modernism, and we all know that post WWII Modernism is the pinnacle of artistic achievement to which the previous 2000 years were a mere warm-up (he said, while rolling his eyes and making a rude gesture).
I like Turner; his work can be striking, dramatic, and dazzling; but I have to say that I find Constable just as interesting, more in fact; and I find more powerful antecedents to Impressionism in Courbet and, in particular, Corot (though Turner certainly set the stage for Whistler’s nocturnes). I just don’t see Turner as quite the turning point (if you’ll excuse the phrase) in the history of art that he gets credit for in the standard texts.
It will be interesting to see what Simon Schama has to say in tonight’s Power of Art (10pm on many PBS stations here in the U.S.), though somehow I think he will take the Modernist view of assigning Turner pivotal importance in the path to Modernism.
It might be helpful to look at Turner’s sources and influences. Constable apparently wasn’t one of them; reportedly Constable was interested in Turner’s work, but not the other way around (though there’s very little influence passed in either direction between them). You can see precedent for Turner’s great washes of sky and color in Claude Lorrain’s volumetric spaces bathed in light. Both Turner and Constable were probably influenced by Gainsborough, and perhaps even Caspar David Friederich.
Turner’s early work was richly detailed, his later paintings washed in color. In the middle the two blended, as in the history painting above, Dido Building Carthage, which I’ll offer in contrast to Slave Traders Throwing the Dead and Dying into the Sea – The Typhoon Approaches, the painting Schama will be focusing on.
Turner considered Dido Building Carthage his greatest work, and reportedly indicated in the first draft of his will that he wanted to be wrapped in the canvas when he was buried. He eventually thought better of that and donated the work to the National Gallery in London, apparently with the stipulation that it be displayed next to a seascape by Claude Lorrain that he found particularly inspiring.
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Colin Stimpson

U.K illustrator and concept artist Colin Stimpson lists early influences that include great Edwardian illustrators like Edmund Dulac and Arthur Rackham. He carries those influences into his snappy, nicely textured illustrations and a richly imaginative rendering style for his concept art and color guides for animated films.Stimpson has worked on a number of Disney films like Hercules, Tinkerbell, The Hunchback of Notre Dame and The Emperor’s New Groove, for which he served as art director.
His web site has a gallery of his animation work that includes color guides and concept paintings for several of those projects. Unfortunately, the color guides in particular are reproduced way too small to get a good look at them. The most interesting work in his animation galleries is a series of beautiful monochromatic images for Kronk’s New Groove. These are imaginative and beautifully realized and have a wonderful sense of scale. The tone renderings have a dark to light drama that would be difficult to achieve in color.
In 2004 Stimpson returned to illustration when asked to illustrate a children’s book called The Poison Diaries for the Duchess of Northumberland. The resulting illustrations (image above) are the other highlight of Stimpson’s online portfolio. Again, his works in monochrome are outstanding in their subtle use of value and texture. There are also color illustrations associated with the book, but the tone images are just a treat.
[Link courtesy of Keith Holt]
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Robert Venosa

When I first saw Robert Venosa’s work reproduced on the web, I wondered if it was done digitally. Though he has recently begun to work in digital media, most of his paintings are in tempera and oil on board, utilizing the “Misch Technique” of Hubert and Jan Van Eyck that he was introduced to when studying with Mati Klarwein and Ernst Fuchs.This technique begins with a bright tempera underpainting over which is laid a series of thin oil glazes that allow light to pass through several layers of translucent color and bounce off the underpainting and returning through the layers before returning to the eye. This is something that you find in many old master paintings that does not reveal itself in photographs.
The technique seems perfectly suited to Venosa’s subject matter.
His images are striking arrangements of rounded, translucent, vaguely organic forms that morph and blend into one another like melting liquid crystal. These are sometimes arranged as “landscapes”, sometimes as fields of dimensional forms and other times as objects, occasionally suggestive of faces, as in his painting titled “Hallucinatory Self Portrait”.
Sometimes his objects can have deliberately plant-like forms, at other times they are blocklike, filled with striations and crinolations that give suggestions of rounded rock formations, the intersection of microscopic cells or flows of solidified air currents.
Venosa’s paintings have ancestors in the Surrealist “landscapes” and polymorphous objects of Yves Tanguy and the wonderful decalcomania inspired visions of Max Ernst. You can also see the influence of Salvador Dali, with whom Venosa became acquainted when he moved to Spain. It was reportedly Venosa who introduced H.R. Giger to Dali.
I also see a similarity in Venosa’s work to certain work by Jean “Mobius” Giraud, though there it’s difficult to tell which way the influence flows. Venosa has also done some collaborative work with digital artist Stephen Miller of Mkzdk.
Venosa has applied his visionary images to concept art for movies like Dune and Fire in the Sky, and the upcoming IMAX film, Race for Atlantis.
Unfortunately, as is often the case, the images on Venosa’s web site are too small to get a good feeling for the work. You can find somewhat larger ones on The Society for Art of the Imagination, this unofficial gallery and the beinArt Surreal Art Collective.
There is a listing in the beinArt Surreal Art Blog about a solo exhibition of Venosa’s work at the Feneiro Gallery in Eugene Oregon from July 6 to August 2nd, 2007.
Addendum: I received a notice that Robert Venosa, and his wife Martina Hoffmann are conducting a series of workshops on Visionary Painting, the latest of which will be held this November 24th to 30th in Boulder, Colorado.
Addendum II: A new new collcetion of Venosa’s work, Robert Venosa: Illuminatus (Amazon link) has just been published. You can read more details on his site.
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Charley’s Picks
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(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
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John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective












