Lines and Colors art blog
  • Scott McCloud Making Comics Fifty State Tour

    Scott McCloud
    In spite of a personal schedule that I thought would prevent it, I managed to catch Scott McCloud’s lecture at Drexel University here in Philadelphia last night.

    McCloud, for those of you not familiar with him, is a popular comics creator and writer, who is best known as a writer about comics, not in the sense of a reviewer, but in the overarching sense of one who tackles the philosophical questions of what comics actually are, what they can do and how they work as an art form and means of visual communication.

    He’s also a comics creator, see my previous post about the online version of his long running character Zot!. You can also find some of his comics stories and experiments on his site.

    This year McCloud released the third of his major books about the comics form. The first one, Understanding Comics, is a classic on the nature of comics as a medium and art form, and I can’t recommend it highly enough (certainly not in this short space). The second was Reinventing Comics, about the new forms comics are taking, particularly in electronic media, (in which he mentions my own webcomic, Argon Zark!). The new book is Making Comics, his foray into the art and craft of comics, about which I will write a more detailed post in the near future.

    In support of the new book McCloud and his family have embarked on a 50 state lecture tour, with speaking engagements at universities, comics conventions, large comics shops and other venues across the country. Interestingly, in an interview on Marty Moss-Coane’s Radio Times yesterday on the local NPR affiliate WHYY (Real Audio file available by searching for Nov 30, 2006 on this page), McCloud says that when he is booked by a university, he’s never sure what department will be hosting him. It could be the art department, communications or technology. His lectures and writings are of interest to all of them.

    I’ve had the pleasure of meeting Scott before, so I knew he was well spoken and articulate, but I was pleased to find that he is also a very good public speaker. His presentation was lively, witty, accompanied by well thought out and arranged graphics (as you might imagine), and in retrospect, covered a remarkable amount of ground in under an hour. He also tackled some fairly advanced concepts and made them seem simple and understandable with his usual aplomb, bringing to bear his uncanny understanding of the relationship between words and pictures in sequence (comics), and the power of that form to not only tell stories, but convey information, even complex information.

    In all, this is a very worthwhile experience for anyone interested in visual art or communications of any sort, and if you are in the path of his lecture tour, I highly recommend that you try to catch his presentation. As far as I know the lectures are usually free and open to the public, particularly when sponsored by universities.

    You can find the schedule on the Tour section of his site, as well as “along the way” details on a blog devoted to the tour, which also include tibits like “Winterviews“, videos in which McCloud’s young daughter interviews comics creators they encounter in their travels.

    McCloud has also recently posted an online supplement to one of the chapters of the new book, called “Chapter 5½“, in which he adds to the “Tools, Techniques and Technology” chapter with information on computer technology displayed in its natural environment.


    www.scottmccloud.com
    Making Comics Fifty State Tour page
    Making Comics Fifty State Tour blog
    Making Comics book page
    Chapter 5½
    Radio Times interview: search for Nov 30, 2006 on this page

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  • Alex Gross

    Alex Gross
    Alex Gross is an illustrator and gallery artist whose work is a fascinating amalgam of images and influences, rendered in a highly crafted and meticulous style that gives his compositions an uncanny feeling of authority.

    He creates large scale and sometimes highly detailed paintings that are filled with iconic images that may or may not be allegorical. Snakes, birds and butterflies are placed in odd contexts. Faces are often dour or troubled in a manner somewhat reminiscent of George Tooker’s monuments to isolation. Clouds take unusual forms, sometimes as patterns, occasionally as actual objects like falling airplanes, a repeated theme in several images.

    There is a kind of delicate and careful eerieness to his more recent gallery paintings, which feel like allegorical portraits, contrasted with a more energetic play of imagery in his older paintings (which I have to say I prefer).

    Gross’s canvasses can have a certain Gothic formality about them, as if time has been conveniently stopped and elements of reality carefully mixed and arranged in some kind of cosmic diorama before being carefully recorded by the artist.

    There is a feeling of graphic nostalgia in almost all of his work, recalling early poster art, mixed with elements of pop surrealism, bits of American and Japanese pop culture and dotted with the iconic butterflies and other weird symbolism — a sort of retro-future nostalgic pop-classical synthesis. (Sorry, I couldn’t resist.)

    Gross studied at the Art Center College of Design in Pasadena and in 2000 travelled in Japan for two months on an artistic scholarship, collecting examples of Japanese gallery art and commercial art. Part of the collection was published by Taschen as Japanese Beauties (Icons). There is also a beautiful new hardcover collection of Gross’s own work, The Art of Alex Gross: Paintings and Other Works from Chronicle Books.

    Suggestion courtesy of Jack Harris.



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  • Jean-Baptiste-Siméon Chardin

    ChardinIf I were to say “Think of a great landscape painter.” or ” Think of a great portrait artist.”, you would probably have a few names spring immediately to mind. If I were to say “Think of a great still life painter.”, chances are better that you might draw a blank, or at least have to think for a bit to come up with a name.

    Still life, though a respected form of painting, just isn’t very glamorous. It’s been a staple subject of artists for centuries and many artists today are doing wonderful work in the area; but historically, artists who paint still life and something else are usually remembered for the something else. Well, here’s a name for your list, even if it is a long hyphenated one: Jean-Baptiste-Siméon Chardin. (I think the French just loved long hyphenated names so they could outdo the British at something else.)

    Chardin was one of the great painters of the 18th Century. His unsentimental portrayals of his subjects, strongly influenced by the Dutch masters, were in sharp contrast to the opulently decorative and playfully erotic canvasses of other Rococo masters like Boucher and Fragonard. He was renowned for his portraits and genre paintings (pictures of everyday life), but in his case it is the still life subjects that get the attention.

    Though the subjects are humble, often pots, ladles, jars and simple kitchen utensils, Chardin paints them with a richness and tactile vibrancy that is outstanding among all still life painters. He was particularly a master of texture, whether of beaten and polished metal, scuffed wood or the rough surfaces of walls and tables. You can feel the objects in his paintings, pick them and hold them in your mind, even though the way he represents them is painterly and not photorealistic. He often laid in parts of his paintings with rough chunks of color, smudges and and scumbling, letting the surface of the paint itself provide some of the texture.

    If you have the opportunity to look at a Chardin painting in a local museum (see the listing on Artcyclopedia), you may find that you’ve unknowingly walked by it several times. Like most still life paintings, Chardin’s don’t scream for attention, but they do reward it. Contemplation of a Chardin still life can be an almost Zen-like exercise in the appreciation of the humble and immediate as sublime.

    Don’t ignore his portraits or domestic scenes, he was a superb painter in all areas, but it’s his magically tactile still life subjects that are most memorable. You may come away with at least one name for your mental list of great still life painters.

     


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  • Joshua Middleton

    Joshua Middleton
    Joshua Middleton is a comics artist who works in mainstream American comics, but whose work feels outside of that world in many ways.

    Middleton draws in an open lined style, with few spotted blacks, that feels to me like it carries more influence from Japanese and European comics than major American comics. Nonetheless, after a stint on Crossgen’s Meridian and a short run on his own creator owned project, Sky between Branches (image above), he went to work for Marvel Comics, creating covers and sometimes interior art for titles like NYX, New Mutants and X-Men Unlimited. He did a bit of work for Udon and Dark Horse and then Moved to DC, where he has done a number of covers and the full mini-series Superman/Shazam: First Thunder (with writer Judd Winick). Middleton seems to have settled in there as a cover artist for Vertigo titles like American Virgin.

    Middleton’s site features galleries of his work from various projects, arranged by covers, comics pages and sketches & character designs, including some concept designs for Serenity’s “Inara”. He started a blog this fall in which he posts unpublished work, sketches, news, notices of originals that are up for auction and sometimes some YouTube style vids of images as he works on them.

    Middleton often does the complete artwork for the pieces he works on, pencils, inks and colors, again more in keeping with European and independent comics than the normal approach of major American comics companies, which is based on a team model (or assembly line if you want to be cynical).

    His ink rendering style utilizes a fine outline, with little variation in line weight, also like the European ligne claire comics style or like inks for animation. His color feels almost like cartoon cell painting, with broad areas of relatively flat color laid against one another with few gradients or painted effects except in backgrounds.

    He works with lots of subdued, neutralized colors, particularly blues that are pushed almost to gray. It’s an unusual approach for mainstream comics coloring, although it has some characteristics in common with coloring for some American comics that are very manga influenced. The difference is that Middleton does it with more aplomb and a firmer knowledge of anatomy and geometric form than the color artists for many of those titles.

    Overall, though, Middleton’s aim seems always to be in service of the emotion of the story, whether in characters faces or the emotional effect of color and tone on the scene as a whole. I hope his success as a cover artist doesn’t keep him from applying that approach more sequential work; telling stories, after all, is what comics do best.


    www.joshuamiddleton.com/
    Middleton’s Sketchbook (blog)
    French fan site
    Interview on Sequential Tart (from when he was working for CrossGen – 2000?)

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  • John Howe

    John Howe
    Fantasy artist John Howe is best known for his illustrations of J. R. R. Tolkien’s works, creating illustrations for editions of The Lord of the Rings trilogy, The Hobbit and related calendars in the early 90’s. Peter Jackson tapped him, along with Alan Lee, to be lead artists on his large scale movie adaptation.

    Howe also worked on the film The Lion the Witch and the Wardrobe, and is presumably involved in other movie projects. Howe was born in Canada, studied in France and is now living in Switzerland. He has illustrated numerous other books in several countries, primarily but not always in the fantasy and medieval genres.

    Despite having a bio page, his site doesn’t have much in the way of a quick introduction, instead it seems to assume that you’re already aware of his work and are back for more news. Someone with more time/patience than I could probably find more background info by digging through the pages devoted to news, travels, FAQ and fan forums.

    There are plenty of images, though. They are pulled from a database, so you can view them by various categories, like topic, most viewed, highest rated, newest, etc. Some, like “Elves & Dragons” (image above), have links to very large versions and even preliminary sketches.

    There is a supplementary site here, apparently for an exhibition of his work in conjunction with a cultural event of some kind in 2007. (I haven’t had time to try to translate this for more details.)

    Addendum: The site for this event, Saint-Ursanne, La Fantastique, has been updated and is now available in English, as well as French and German. The event takes place in a medieval city that was the inspiration for many of Howe’s paintings for The Lord of the Rings. A description for the site reads: an exclusive exhibition of John Howe paintings in the cloisters and cellar gallery, fantastical installations all around the city, classical and Celtic concerts, medieval festivities, encounters around J. R. R. Tolkien’s novels, documentaries and evening cinema in the reconverted factory “Fours à Chaux”.



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  • MUVA

    MUVAMUVA (Museo Virtual de Artes – El Pais) is a virtual art museum for contemporary art from Uruguay. It’s been on the web for a number of years. I’m not sure exactly when it debuted, but it predates the virtual spaces in virtual worlds like Second Life by a good bit.

    The museum is an online gallery, with rotating shows of various artists, that is arranged in a 3-D virtual space that you can “walk though” using links in the interface. Hovering your mouse over parts of the interface, or on control buttons, allows you to navigate through the gallery spaces in which previews of the works are arranged like paintings hanging on the virtual walls of the museum. Clicking directly on a work allows you to view a larger image of the work in much the same way you would in a standard online gallery. A small map in the interface shows you your position and orientation within the museum’s floors and galleries.

    There is a relatively new Flash version now to compliment the original HTML version (shown here). Try a little of both to see which you prefer, depending on the speed of your connection. Both versions are offered in either Spanish or English. When in doubt, there is a help feature at the bottom of the interface and if you become impatient, use the Site Map.

    This arrangement is obviously not as efficient as regular thumbnail-and-enlargement online galleries, but sometimes, particularly when viewing art, efficiency is not the point. The 3-D environment is convincing and consistent enough to give you a feeling of taking some time to wander through a real museum, with it’s attendant “Let’s see what’s in this gallery.” sense of exploration.

    Overall the effect is clever and entertaining in it own right, leading you to perhaps spend some time with some artists that you might not be familiar with or seek out under other circumstances.

     


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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

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The Art Spirit
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Urban Sketching: Understanding Perspective
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Daily Painting
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Understanding Comics
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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