Lines and Colors art blog
  • Max Fleischer

    Max Fleischer was a pioneering animator responsible for some of the all-time classic animated cartoons. Together with his brothers Dave and Joe he founded Fleischer Studios, one of the first animation studios. It was Fleischer, not Disney, who produced the first sound cartoons. The studio was responsible for the Betty Boop cartoons, KoKo the Clown, Gullivers Travels, the original (and best) Popeye animated cartoons, and a wonderful series of Superman cartoons that are treasures of classic animation.

    Fleischer was working as the art editor of Popular Science in 1925 when he came up with the idea for what would eventually become the process of rotoscoping – using live action as the basis of drawn animation. The studio was also using Fleischer’s rotograph, to blend animated characters with live backgrounds on film 70 years before Who Framed Roger Rabbit. The studio was the first to introduce the practice of in-betweening, using junior artists to fill in between key frames drawn by the main animator to expedite the production of cartoons.

    Despite their innovations and excellent work, when the era of full-length animated cartoons arrived they couldn’t keep pace with Disney and the studio went bankrupt trying to compete.

    Fleischer’s Superman cartoons, with their art-deco design, beautiful drawing, film noir “cinematography” and artful use of shadows, lighting and color are still marvels of cartoon animation and, no offense to Christopher Reeve, still the best version of that character ever brought to film. You can see their influence not only in the modern run of Warner Brothers Batman and Superman cartoons (see my post on Bruce Timm), but also in films like Sky Captain and the World of Tomorrow, where the first half hour is basically a homage to the Fleischer Supermans.

    There is a treasure trove of freely downloadable Max Fleischer cartoons as part of the Internet Archive.

    Try some classics like Electric Earthquake or Bulleteers.

    Or you may want the convenience and image quality of the versions available on DVD: “The Superman Cartoons of Max and Dave Fleischer”, “The Animated World of Max & Dave Fleischer: Superman / Popeye” (and others).

     


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  • Russian Art Gallery
    Museum of Russian Art

    Russian Art
    I had the good fortune to be in Florence last summer. My wife and I were in a restaurant one rainy evening and the couple sitting next to us turned out to be a Russian art professor from St. Petersburg and his wife.

    While we were having fun trying to carry on a conversation about art with gestures, nods, sketchbooks and the help of his wife’s limited English (certainly better than our non-grasp of Russian), the question came up about how much Russian art I was familiar with. I realized to my surprise that the answer was almost none. For some reason, even in the post-cold war climate of the last several years, Americans have some familiarity with Russian music and literature but almost no exposure to Russian visual art.

    Even when I thought about it later, the only Russian painters I could think of were Chagall and Kandinski and I tend to think that’s because they both achieved notice in Paris. Russian painters who lived and worked in Russia were a blank to me. So I made a point of looking up some Russian Art on the web.

    For many years of Communist (and particularly Stalinist) rule, the only art style that wasn’t actively discouraged in Soviet Russia was Socialist Realism, so there are lots of images depicting the nobility of toil and smiling workers carrying the revolutionary ideals forward, etc. Even within those oppressive limitations, Russian artists achieved great beauty and there was a surprising flowering of Russian Impressionism. That’s mostly what I’m showing here: clockwise from top left: Victor Koshevoi, Sergei A. Kolyada, Vladimir Sosnovsky and Konstantin Lomykin. I’ve become particularly impressed with the work of Vladimir Sosnovsky whose simple and direct version of impressionism reminds me of my favorite under-appreciated Impressionist, Alfred Sisley.

    These images were found in the two main resources I came across on the web. The Russian Art Gallery has nice online images of work they have for sale from Russian artists working in various styles.

    The Museum of Russian Art is a museum in Minnesota devoted to promoting awareness of Russian art in this country. They recently provided the art for a well-received exhibition at the Guggenheim Museum’s Sackler Center. There is a good online gallery associated with the museum’s own exhibit, Perspectives on Russian Art.

    In addition, I found that Rollins College has an online section on 20th Century Russian Art and Auburn University has a good selection from several centuries.



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  • Masamune Shirow

    Masamune Shirow
    Masamune Shirow (pen name for Masanori Ota) is one of the most popular and influential creators of manga (Japanese comics). He is best known as the creator of Ghost in the Shell, which most Westerners know more from the 2 Anime movies (directed by Mamoru Oshii) and TV show than from the original manga they were adapted from. His other well-known manga include Appleseed and Dominion.

    Ghost in the Shell is essentially a cyberpunk (computer oriented science fiction) story and the anime adaptation of it was very influential on popular films like The Matrix. The story is that the Wachowski brothers were running into resistance from the studio when pitching the idea for the original Matrix movie. The Brothers W couldn’t seem to get across to the studio execs what kind of a movie they were trying to make until they sat them down for a showing of Ghost in the Shell and said “We want to make a live action version of something like this.”

    Masamune ShirowIn addition to manga stories, Shirow also creates highly-rendered “calendar art” specifically designed to appeal to the prurient interests of young men. It usually features scantily-clad or semi-naked women with exaggerated sexual characteristics, (who may or may not be robots or androids), wielding large high-tech weapons amid gleaming sci-fi trappings and futuristic settings.

    Many of his images will be unappealing or downright offensive to some women. Ironically, strong women are the central characters in his comic stories. They are the heroes, the movers and shakers, the ones who make things happen. The men are either supporting characters or the villains.

    Shirow’s drawings, even his highly rendered calendar images, have that “anime” cartoon-style look to the faces that many western viewers have trouble accepting: large doll-like eyes, tiny pointed noses and exaggeratedly small mouths and chins. His comics storytelling, however, can be fairly straightforward for Westerners when it has been translated and the images have been “flopped” so the panels read left to right instead of right-to left.

    I don’t know of an official Masamune Shirow website, although there is an official Ghost in the Shell site. Here is a Masamune Shirow fan site with information and links, and another Masamune Shirow Hyperpage with info, articles, reviews and fan forums.

    Here is a Shirow Gallery of his highly rendered calendar art as part of this French Web magazine Black Hole (see my notice at the end of the post).

    Here is an About Shirow page on a British site, and another informational British site on The Art of Shirow.

    To read Shirow’s actual manga, start with Ghost In The Shell Volume 1. The recent Ghost In The Shell 2: Man-Machine Interface is also good, but quite different from the original and his other work.

    Note: The sites linked here contain sexually oriented material and nudity. Avoid them if you’re likely to be offended.

     


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  • Arthur Rackham

    Arthur Rackham
    British book illustrator Arthur Rackham, who was active from the late 1800’s to the 1930’s, was one of the all time great illustrators and one of my favorites. He was particularly noted for his illustrations of children’s books. Whatever he tackled, Fairy Tales of the Brothers Grimm, Rip van Winkle, The Wind in the Willows, Peter Pan in Kensington Gardens…, Rackham would own it. His unique vision and amazingly strong images became an integral part of the experience of reading the story.

    Of the many artists who have tried to illustrate Alice in Wonderland in the footsteps of the amazing Sir John Tenniel, Rackham is the only artist I can think who doesn’t disappear into Tenniel’s shadow like a Cheshire Cat fading into the gloom.

    Rackham’s fairy tale worlds are sometimes steeped in gloom and mystery. His misty forests are inhabited by elves and goblins peering about twisted roots, massive gnarled trees, mushrooms, ferns and sinuous, tangled undergrowth. I think his fairy tale illustrations were one of the main starting points for modern fantasy illustration, influencing artists like Frank Frazetta and Roy Krenkel and the generations of fantasy artists behind them.

    Rackham was a deft pen and ink artist and most of his paintings started as pen and ink drawings into which he worked layer after layer of transparent watercolor glaze, a painstaking method associated more with classical painting than modern illustration.

    The Arthur Rackham Society site has a good selection of links to Rackham’s illustrations online (pop-up warning: Angelfire hosted site).

    There is a nice selection of images from J.M. Barrie’s Peter Pan in Kensington Gardens here.

    There are complete facsimiles of his illustrated versions of Aesop’s Fables and English Fairy Tales available online as part of Project Gutenberg. (For the quickest view of the material, go to the “Format” section, choose “HTML”, Compression: “None” and look to the index of illustrations.)

    Here is a beautiful set of Rackham’s Alice in Wonderland illustrations courtesy of good ol’ Doc Ozone.

    The link I’m suggesting below is to a nice broad cross-section of Rackham’s work on the Art Passions site.



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  • Mark Goerner

    Mark Goerner
    Concept artist Mark Goerner has done conceptual illustrations for props, sets and environments for films like Minority Report, Constantine, X-men 2 and The Terminal, as well as upcoming films like the new Superman and Battle Angel Alita (for James Cameron).

    Goerner’s site contains concept art from many of those movies as well as some of his other professional work and even some of his student work. The Superman section is interesting in particular because it showcases sketches and alternate versions as well as some of the finished design renderings. The “Student Work” section has an interesting variety of work, including product design, sketches and figure drawing.

    His sleek futuristic designs remind me a bit of master concept artist Syd Mead (who I profiled in last November).

    Goerner has done three training CDs for the Gnomon Workshop, for whom he is in instructor. There is an additional gallery of his work on the Gnomon Workshop site (images above). There is also an illustrated interview with Goerner on the CG Channel.



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  • Kawase Hasui

    Kawase Hasui
    Kawase Hasui was a Japanese printmaker, active in the first half of the 20th century, who created wonderfully subtle and entrancingly beautiful woodblock prints of landscape scenes.

    His images were sometimes brimming with light and the brilliant colors of Spring or Autumn at other times almost monochromatic, depicting scenes at night, twilight or in the rain or fog.

    He had a fascination with the play of light and shadow, the subtle patterns of dappled sunlight or moonlight, and the strange highlights created by late morning or early evening sun. He also often composed his scenes near water, adding reflections to his fascination with light.

    Even though there is no overt similarity, I feel like he has a kinship with the impressionists in his pursuit of the qualities of light and the visual characteristics of the natural world. He sometimes created multiple images of the same scene at different times of the day or in different seasons, much as Monet did.

    At times he takes a solid outline filled with color approach that is suggestive of comic book art. At the other end of his stylistic range, his linework is minimal and almost overpowered by the colored inks. He traveled extensively in Japan making watercolor sketches of his subjects and many of his prints have a watercolor feel to them.

    The site linked below is to the listing about Hasui on the Hanga Gallery site. The gallery site contains a remarkably complete representation of his work, containing images of almost all of his nearly 600 extant prints, arranged by publisher and year or by series. I’m particularly fond of his work from the 1940’s.

    There is also a nice gallery here, with click-through navigation and a good article about Hasui here.

    Link via Illustrated Ideas.



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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