Lines and Colors art blog
  • Armand Serrano

    Armand Serrano
    Armand Serrano is a visual development artist for Sony Pictures Animation. He started out with FilCartoons, a subsidiary of Hanna-Barbera, on projects like The New Adventures of Johnny Quest, Young Robin Hood and Pirates of Dark Water. He then moved to with Philippine Animation Studio (PASI), supervising layout for Marvel TV animation like X-Men and Fantastic Four. Then it was on to 7th Level, Inc, a multimedia and gaming company and then to Walt Disney Feature Animation Studio, where he worked on on Mulan, Tarzan, Lilo and Stitch and Brother Bear.

    He occasionally works in ink and wash, Photoshop and even oil, but most of his production work is nicely toned and atmospheric work done in graphite on paper or Priamacolor Pencil on vellum.

    His site includes galleries of production art, layouts and illustrations, as well as a few landscape drawings and a section of life studies. The gallery setup is not the best (see my comments below), but Serrano also has a blog on which it is easier to see some of his images.

    Serrano is also part of Sketchclub and is a participant in the El Pacifico collaborative improvisational comic book experiment along with Marcelo Vignali and Marcos Mateu.

    Link via John Nevarez



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  • Draw the Pirate

    Draw the PirateAvast, ye swabs! If ye’ve ever bin a’wonderin ’bout them “Draw the Pirate” ads fer them mail-orderin’ art schools that be testin’ yer art talent afore they’ll train yer carcass ter be an artist, here be an amusin’ little film fer yer by Jeff Hopkins.

    Yer never know, matey, yer might have talents! Then agin, yer might knot. Arrrrgh!

    Link by way o’ Karl “Scourge ‘o the High Seas” Kofoed



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  • Frits Thaulow

    Frits Thaulow
    One of my favorite painters is a relatively unknown Norwegian painter and engraver named Frits Thaulow.

    I only discovered Thaulow because the Philadelphia Museum of Art happens to have a stunning painting of his in their permanent collection called Water Mill. It is a large work (32 x 47 5/8 inches – 81.3 x 121 cm) that is strikingly beautiful both from across the gallery and up close. It has been one of my favorites in the museum, and a “must visit” when I’m there, for a long time (image above, bottom left). Unfortunately, I couldn’t find a larger reproduction of this painting on the web to show you, but I have found some others.

    Thaulow is another of those artists I favor who walk the line between realism and Impressionism. He is obviously influenced by the French (and perhaps Russian) impressionists, and displays their bright palette, plein air approach and fresh open brushwork, but never lets his canvasses dissolve into the blizzard of separate brushstrokes that became the hallmark of Impressionist technique.

    Like Gustave Caillebotte, he works within the structure of realism. He was actually more strongly influenced by French realist art than Impressionism, in particular Jules Bastien-Lepage as well as Swedish painter Carl Skånberg. He originally intended to be a marine painter, and many of his early works are of the sea and shore, but he moved his subject matter inland and became a master of smaller bodies of water. He does the most wonderful paintings I have encountered of one of my favorite subjects, small streams and slow-moving rivers.

    He is astonishingly skillful at portraying the complex relationships of gently swirling water as a reflective surface for sky and landscape. His water, particularly in the painting at the Philadelphia museum, is simultaneously reflective and translucent.

    Thaulow’s use of color is at once brilliant and restrained, again as if he had gone to the brink of Impressionism and pulled back, and is wonderfully evocative of time of day, season and weather.

    Prior to the expansion of the Internet in recent years, I had difficulty finding any information him, even in university libraries. There are a couple of books available through Amazon: Frits Thaulow: October 11-November 16, 1985 (exhibition catalog), Frits Thaulow: 10 November-6 December 1986, the Fine Art Society, London (exhibition catalog) and Frits Thaulow: 1847-1906 by Vidar Poulsson.

    [Update: 30 October, 2010: I have since written two other posts about Thaulow, a post specifically about Water Mill in 2008 and a general update on Frits Thaulow in 2009 that has many more links and resources than listed here.]


    Water Mill at Philadelphia Museum of Art
    Frits Thaulow bio and gallery at Scandinavian Art
    Frits Thaulow at Art Renewal Center
    Frits Thaulow gallery at Pintura noruega
    Frits Thaulow bio at Randi og Sveins
    Frits Thaulow at Big Bertis
    Frits Thaulow at Cuidad de la pintura
    Frits Thaulow at Artcyclopedia

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  • Tim Knowles

    Tim KnowlesThis is about trees drawing.

    No, that’s not a typo for “tree drawings” or “drawing trees”, I mean “trees drawing”.

    I’m always fascinated with notions of what drawing is or can be. Tim Knowles has been working on a series of tree drawings that are actually drawings made by trees.

    Knowles sets up the conditions for the drawings, attaching markers to the branches of trees and allowing the wind to move the tree’s “drawing hand”. The fascinating thing about the result is that human beings can find meaning and visual pleasure in the seemingly random marks.

    Knowles work is on exhibit at the Rokeby Gallery in London, UK until August 1, 2006 in a joint show with Catherine Morland. The online gallery is split between both artists, so flip through the numberd links at the top of the image to see more of Knowles’ tree drawings, as well as his drawings created by placing a plotter in the back of a moving sports car and photographs snapped by a camera on a timer peeking out of a package over the course of being delivered.

    There is something primal about drawing, particularly in its most rudimentary form of lines on a surface. The Dadaists experimented with the deliberate cultivation of chance and randomness the creation of art, later exemplified by Jackson Pollock’s drip paintings and drawings, and the Surrealists were enamored of “automatic drawing”, trying to coax drawings directly out of the subconscious without conscious intervention. All of these approaches require the artist to give up control and accept elements of chance into the work.

    One of the games we used to play in school was for one person to draw a line or stroke and hand it to the other to make an image from it. Sometimes we would spatter ink on the paper and then go in and work with that as a starting point for a drawing.

    Knowles leaves (if you’ll excuse the the expression) his final drawings to the trees, but the whole process is a fun invitation to think about drawing in different ways and maybe loosen up a bit in our frantic desire to control our work too much.

    Link via Layers of Meaning

     

    Tim Knowles at Rokeby Gallery

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  • Karl Kofoed

    Karl Kofoed
    So you’re in a friend’s house and you notice this book on the coffee table.

    More like a magazine, really, with a thick spine and somewhat oversize pages, but there’s this amazing image on the cover of two spacecraft and what appear to be human and non-human figures spacewalking, drifting out toward a meeting over a great swirling vortex of red.

    You look at the title, “Galactic Geographic Annual 3003” it says, and below that is apparently a list of articles to be found inside: “The Passing of the Airwhales”, Diving In Methane”, “Music of Other Worlds”… and at the top you notice is says “Earth Edition”.

    Wha???

    Opening the covers you do indeed find the articles listed, accompanied by stunning images, along with other topics like “The Rope Makers of Betel 2B”, “Harvest on Insandor”, and “At Home With the Tsailerol”, as well as advertisements for off-world tours, extraterrestrial zoos and “Temporal Modules”.

    Suddenly it dawns on you that what you have picked up off your friend’s coffee table is an artifact from the future, a copy of the Galactic Geographic Magazine annual from the year 3003, complete with in-depth articles on alien life forms, first contact, missions to save planets and rescue explorers from black holes.

    Through it all is page after page of fantastically imaginative and beautifully realized images of bizarre alien creatures, intricate otherworldly plantlife, fantastic landscapes and monumental starships set against the curves of great planets.

    As you read through the pages, you begin to realize that the seemingly unrelated articles are actually telling a coherent story of space exploration, adventure and contact with three intelligent races, a story told with insight, imagination and wit.

    The Galactic Geographic is the creation of veteran science fiction artist Karl Kofoed, a remarkable work that is the result of creative efforts over many years. Kofoed began the individual stories as articles for Heavy Metal Magazine in 1980, where it was a regular feature for two years. It resumed in 1998 and is running in the magazine today. The collection (the “3003 Annual”) was published in 2003.

    Kofoed is also a graphic designer and does specialty photo restoration in addition to his wonderful speculations on life from other worlds.

    He has just launched a new site devoted to his recent work, offering it up as clickable thumbnails or a slide show. The site also indicates that giclee prints are available.

    The Galactic Geographic has its own site. Although navigation is less clear than it might be, if you follow links in the text under the images you’ll be rewarded with additional images and details.

    Kofoed works both in traditional media and digitally in Photohop, often combining the two. His images range from sketchy and highly textured to sharply photorealistic, and can even be delightfully cartoony at times, always appropriate to the concept he’s illustrating. You can see some additional examples of his science fiction illustration here.

    In some of his more recent work he will combine photographic elements, digitallly manipulated, with digital painting and traditional watercolor in a true mixed media aproach.

    Kofoed’s wife, Janet Kofoed, creates unique and imaginative jewelry, often with sculptural components. I’ve had the pleasure of knowing Karl and Janet for a number of years and they are the kind of warm and genuine people that you hope all of your favorite artists would turn out to be.

    The Galactic Geographic Annual 3003 is available from Amazon. I’m just not sure how they get them from the future.



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  • Boneville Reloaded

    Jeff Smith’s Bone is one of the best examples of an independent comic breaking out into mainstream awareness on the basis of sheer quality.

    It’s a wonderfully drawn, imaginative, involving and beautifully realized comic series that has been collected in a series of books, translated into editions all over the world, printed in popular magazines, and now re-issued in a new full-color version from Scholastic Press (the originals were in splendiferous black and white).

    I posted about Bone, and the Boneville website in two back-to-back posts in March, one about Smith’s post on the process of drawing Bone and one on Steve Hamaker’s post about coloring Bone. The former of my two posts has more general information about the strip and its creator, Jeff Smith.

    Smith has since then revamped the Boneville web site with an entirely new design, featuring a clean, spare, blog-like interface and simplified navigation.

    Most of the features are still there, like the Cover Gallery, Discussion Board, Shop (containing Amazon links to the various Bone editions) and Blog.

    September of this year will also see a new pressing of the out-of-print Bone One Volume Edition, the 1300 page phone-book-thick paperback that collects the Bone stories in their original sublime black and white format (not to disparage the color editions, I just happen to think the strips in color and black and white are two different works, like a drawing and a painting of the same subject). Smith has created a new cover for the volume (large version here, Smith’s blog post here).

    I’ve taken some license with my doctored “screen cap” to show both the new interface and as much art from the new color edition as I could.

    Link via buffalog and Bolt City.

     


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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