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Promoting some friends and some clients of my website design business
- Twin Willows T’ai Chi studio in Wilmington DE. Taiji classes with Bryan Davis.
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DinoMixer Reviewed on Wired’s GeekDad

I don’t often talk about my own work here on Lines and Colors, but every once and a while there’s something interesting enough to mention.I was particularly pleased when I learned that my dinosaur mix and match iPhone app DinoMixer was given a very nice review this morning on Wired.
The review, Build Your Own Dinosaurs With DinoMixer, is by Jonathan Liu and is on Wired’s GeekDad blog. GeekDad is a fascinating and always well written blog about technology, science and related topics, ostensibly aimed at parents, but really of interest to anyone who still has a inner child (grin).
DinoMixer is an iPhone app for which I created the concept, art and design, and partnered with Leon Stankowski of Mobomia, who did the programming.
I wrote a previous article about my experience creating art for the app: DinoMixer: on creating art for an iPhone app, and I’ve since created the design and illustration for another iPhone app called MonsterMixer.
There is a web site for DinoMixer here. You can also see some of the DinoMixer illustrations on my CafePress T-shirt store for Dinosaur Cartoons. I’ll soon be adding them to a similar Zazzle T-shirt store for Dinosaur Cartoons (and perhaps be reporting on the relative value of each).
The GeekDad review was nice not only for the positive comments, but for the helpful suggestions (like adding an audio pronunciation of the dinosaur names). Creating something like an iPhone app is in many ways similar to the creation of an individual illustration or other artwork, a process of learning and refinement, constantly striving to get better.
But, also like illustration and other art, it’s nice when you get some positive feedback.
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Karen Hollingsworth (update)

Since I last wrote about painter Karen Hollingsworth in 2006, she has continued exploring her luminous room interiors, which have evolved into “windowscapes”.Many painters will work to fill rooms with light, but Hollingsworth’s rooms are volumetrically filled with the palpable presence of light and air. Sea air lifts gossamer curtains, through which sunlight slides, scatters and bounces, playing across polished wooden floors and chairs, cascades of linen bedsheets or tablecloths arrayed with colorful fruit.
Light and air almost seem like competing forces, light filling a space like water in a jar, and air stirring it around, moving your eye through the space across the diagonals of swept up curtains.
In the galleries on her site you can browse through her recent archives of windowscapes, along with “roomscapes” with somewhat weightier contents, as well as portraits, still life and commissioned work.
Karen Hollingsworth is married to painter Neil Hollingsworth, who I profiled here and here.
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Vintage Ad Browser

When I revisited the Cover Browser site in the course of writing my recent post on CBR’s 50 Best Comic Covers of 2009, I discovered that an entirely new sister site had been added, Vintage Ad Browser.The collection includes ads in a variety of genres, arranged within them by decade. Some categories go back into the 18th Century, but I focused on the turn of the 20th Century, looking for some of the ads done by “Golden Age” illustrators, both well known and obscure, before the emphasis in advertising shifted to photography. Unfortunately, there is no attempt to give artist credits (it would be a daunting task, to say the least), but you can just browse for interesting images.
You can select a category (I had some luck with “Beauty & Hygiene” and “Clothes“) and search back through the years for images of ads from that era. Once inside a particular decade, there are usually several subsequent pages of ads (small “Next” link at bottom).
There are sections on propaganda posters (see my post on Propaganda Posters, and here), movies, toys, food, cars, military topics, sports, tobacco and all manner of stuff that has been advertised over the years. It’s a amazing conglomeration of advertising styles, approaches, topics and, best of all, illustration styles.
Some of the initial images are a bit rough, but many of them are linked to higher resolution versions that look much better.
They’re not all gems, of course, far from it in some cases; but the gems are there if you’re willing to do some clicking and searching.
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How to Spot a Rembrandt

I’ve mentioned before (also here) that the attribution of works to artists from the past is often an inexact science, perhaps more of an art in itself.Attributions change, and works once identified with one artist are subsequently assigned to another, or often, to pupils of the artist. Sometimes the reverse happens, and works once assigned to another hand are recognized as coming from that of the master.
The Getty Museum is currently exploring this concept with an exhibit titled Drawings by Rembrandt & His Pupils: Telling the Difference.
In the web site material for the exhibit is an interactive that compares drawings by Rembrandt side by side with similar drawings by his students and contemporaries; many of the latter drawings having once been attributed to Rembrandt.
The Wall Street Journal has an article about the exhibit that also has an interactive. In this case they present the compared sets of drawings without initially identifying the artist, letting you play detective in determining which is by Rembrandt. (It’s hard to predict if this article may disappear behind a pay-wall at some point.)
The interactive on the Getty’s site allows you to zoom in on the images, affording a detailed view of the drawings.
Drawings by Rembrandt & His Pupils: Telling the Difference runs to February 28th at the Getty Center. There is a concurrent exhibit, Drawing Life: The Dutch Visual Tradition, that should provide a rich context for the Rembrandt show.
There is also a virtual exhibit called Rembrandt in Southern California, that features images of 14 Rembrandts on view in five Southern California Museums.
For more background, and lots more Rembrandt drawings, see Rembrandt’s Drawings on Jonathan Janson’s Rembrandt van Rijn: Life and Work, and my posts on that site (formerly called Rembrandt: life, paintings, etchings, drawings and self portraits), and Jonathan Janson.
There is a book published to accompany the exhibit: Drawings by Rembrandt and His Pupils: Telling the Difference; and there is also a nice book of Rembrandt drawings that came out in 2007: Rembrandt Drawings: 116 Masterpieces in Original Color.
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CBR’s 50 Best Comic Covers of 2009

As I pointed out in my 2007 article on Cover Browser, comic book covers have a singular focus: to make you notice the cover, pick up the printed pamphlet or booklet to which it is affixed, slap down your hard earned dollars, and run home clutching it to your chest, cackling maniacally with glee at the prospect of the brain tantalizing wonders that lie within.OK, well maybe you just put it in a bag, but the main part of that is the slapping down hard earned cash part; and covers have long been considered a crucial element in selling comics (as with any printed material), to the point where specialized artists are often called in to do the cover instead of the art team who created the actual story, and art directors often sweat and fuss over them and ask the artists for repeated revisions.
Comic book covers inherited their traditions in attention getting, sometimes lurid, imagery from the pulp magazines of the early 20th Century; but the art of making arresting comic book covers has become more subtle, and modern “grabbers” often utilize themes and styles that would have been unrecognizable to the sensibilities of the pulp artists and many of the comic cover artists of the late 20th Century.
Here is a list from Kevin Melrose, of the ROBOT 6 blog on Comic Book Resources, of his picks for The 50 best covers of 2009. As always with “best of” lists, it’s a jumping off point for discussion and conjecture, but serves as an interesting cross section of modern comic covers. The covers shown in the article can be clicked on for larger versions.
You also view his list of The 25 best comic covers of 2008.
For a dive into history, check out Cover Browser (see my article on Cover Browser).
(See the article for cover credits on the images above.)
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Billy George

One of the things that appealed to me right away when I browsed through the (still in progress) portfolio site for concept artist and designer Billy George was the nicely otherworldly color schemes he worked with in his environment paintings for Spacetime’s Blackstar game project (image above, top).He used palettes of seemingly not-of-this-Earth colors, but made them nicely consistent within themselves.
I was then impressed with his subtle and restrained concept art for Disney’s Treasure Planet feature animation (above, middle), and, in particular, his beautiful workbook sketches for Brother bear (above, bottom).
You can find a number of these and more in the galleries on his site (note the sub-navigation at top to other sections, like Layouts, Characters, etc.).
You will find more work on his blog, including comics work, in particular an in progress graphic novel, Ruined Earth, storyboards and other goodies, like experimental vector drawings intended for Flash animation.
George was hired by Disney as a trainee when he graduated from Art Center College of Design. He worked with them for ten years and worked on seven feature animations. He left to pursue work in the gaming industry, but has recently returned to the Disney fold as Lead Concept Artist for the Disney owned Junction Point interactive studio in Austin Texas.
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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
Urban Sketching: Understanding Perspective
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
Urban Sketching: Understanding Perspective











