Lines and Colors art blog
  • Jeff Smith: Bone and Beyond

    Jeff Smith - Bone
    I’m always particularly pleased when the art establishment of museums and traditional galleries shakes itself out of its self-imposed blindness and recognizes comics (“graphic narrative”) as the art form it is; so I was pleased to learn that the work of comics artist Jeff Smith, creator of the highly regarded series Bone, is featured in a new exhibit at the Wexner Center for the Arts in Columbus Ohio, Jeff Smith: Bone and Beyond.

    I’ve written about Jeff Smith and Bone before (and here).

    The exhibit features 80 of of Smith’s pen and ink pages from Bone, several color covers as well as some of his work on projects since wrapping up the thousand-plus page series, including his Shazam series for DC Comics and his new ongoing series Rasl.

    Bone (Amazon link) was published as black and white trade paperbacks, then collected in a 1,300 page graphic novel (in the true sense of that term, not the way it’s misused by the comics industry as a catchall for squarebound comics), and then rereleased as a series of color trade paperbacks, with coloring by Steve Hamaker.

    The exhibit at the Wexner Center also includes a selection of classic comics art from artists that Smith considers direct influences on his work and style, including original pages and panels from Walt Kelly’s Pogo, Will Eisner’s The Spirit, Carl Barks’s Uncle Scrooge, Garry Trudeau’s Doonesbury, and E. C. Segar’s Thimble Theatre.

    There is a catalog created to accompany the exhibit, which also includes the work of the other artists. There is a five minute video on the Wexner site with an interview with Smith.

    The exhibit at the Wexner Center runs until August 3, 2008.

    A related exhibit, Jeff Smith: Before Bone is running concurrently at the nearby Cartoon Research Library of Ohio State University. It features his work on Thorn, Smith’s strip for the campus newspaper, The Lantern. There is also a catalog to accompany this exhibit.

    You can always catch up on the latest news about Jeff Smith and his work on his Boneville blog. You can also order Bone, Rasl and related items directly from Smith’s online Shop.

    [Exhibition link via Art Knowledge News]


    Jeff Smith Bone and Beyond at Wexner Center for the Arts (to 8/3/08)
    Jeff Smith: Before Bone at Cartoon Research Library (to 9/5/08)
    Boneville (Smith’s blog)
    Boneville Shop
    Jeff Smith’s Bone on Amazon
    My previous posts on Jeff Smith
    Boneville Reloaded
    Drawing Comics: Jeff Smith’s Bone
    Coloring Comics: Steve Hamaker Colors Bone

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  • Colin Page (update)

    Colin Page
    I will often write about artists here on lines and colors whose work I have only seen in digital reproduction on the web. It’s always preferable, though. when I can see the actual work in person, and even better on those rare occasions when I get to meet and speak with the artist.

    I wrote about Maine artist Colin Page about a year ago, when he last had a show at the F.A.N. Gallery here in Philadelphia. I did have chance to see his work in person on that occasion, catching his essentially sold-out show on its last day.

    This year I was able to make the opening of the new show last Friday, as the First Friday Old City gallery walk was in progress in the midst of the city’s July 4th events.

    I was pleased to have the chance to meet Colin and talk with him about his palette, his approach to plein air painting, color theory and his direction in terms of new subjects.

    We also talked briefly about his decision to work a bit larger at times, and in more open compositions. Scale is one of those things that you can’t readily get a feeling for when viewing images online (or in print, for that matter), and it makes a difference in your impression of a painting.

    Another aspect of looking at paintings that I am often frustrated with when viewing images of paintings rather than originals is the surface texture, the physical character of the way the paint is applied, particularly in impressionistic or painterly realist works.

    Page’s work, in particular, has a wonderful appeal in the brush strokes and texture of the paint on the canvas. His lively, remarkably free brush handling, which actually seems to have gotten looser and more confident over the past year, gives his canvasses a kind of textural sparkle that is an integral part of their character when seen in person, but doesn’t often come through in reproductions.

    This is one of the reasons that my suggestion to artists like Colin, and many others who show their work on the web, would be to post a few large images, or at least some detail shots, that show more clearly the character of the painted surface.

    It also helps, I think, to supplement images of paintings which have been photographed with flat lighting, in an attempt to show the work lit as evenly as possible, with additional images intentionally lit at an angle to show the dimensionality of the paint.

    Up close, Page’s paintings are dappled with crisp, textural strokes of brilliant color, that can look almost haphazard, but, on stepping back resolve beautifully into his intended subject. His broader areas of color, when seen up close, likewise break up into fascinating combinations of vivid hues, that can almost seem unrelated at times, but from a normal viewing distance blend optically to make a clear and perfect tone.

    He applies his technique, and his terrific knack for strong compositional geometry, to subjects in rural Maine and urban Philadelphia. His trips here to visit family afford him the opportunity to paint the urban landscape, which he describes as a refreshing change from the subject matter in the rural area where he lives. I particularly like the way he uses patches of light and shade in his urban subjects to control and organize the patterns of color that make up the scene, giving focus and depth to what might otherwise be a chaotic jumble of shapes.

    You can see a gallery of his work on his web site. You will also find additional paintings on his blog (journal), to which he has been posting with increasing frequency, along with occasional works in progress and thoughts on painting and technique.

    In addition, there is a selection of Page’s work on the F.A.N. Gallery web site. (The F.A.N. is one of the few galleries in Philadelphia that I count on to consistently show work that I find interesting.)

    Colin Page: Recent Paintings runs at the F.A.N. Gallery until July 26, 2008.

    www.colinpagepaintings.com

    Colin Page at F.A.N. Gallery



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  • More Leyendecker and other great stuff

    J.C. Leyendecker
    OK, I realize I just posted about the amazing Golden Age illustrator J.C. Leyendecker a couple of weeks ago, and I’ve written about him half a dozen times in the past, but I have this general rule that says there’s no such thing as too much Leyendecker.

    The first item I want to tell you about is a limited edition book that accompanies the exhibit I talked about in my last post, Americans Abroad: J.C. Leyendecker and the European Academic Influence on American Illustation.

    Frustratingly, my schedule won’t allow me to get to New York before this exhibit closes on Saturday (July 12), but a friend was kind enough to pick up a copy of the exhibition catalog for me.

    Aside from the fact that it makes me even more disappointed that I won’t see the show in person, it’s the next best thing, because the book is wonderful. It’s full of beautiful illustrations by J.C. Leyendecker, his brother Francis X Leyendecker (underrated in the shadow of his brother) and a number of other great Golden Age illustrators who were classically trained, including Edwin Austin Abbey, Edwin Howland Blashfield, Anton Otto Fischer, Norman Mills Price, Everett Shinn, William Thomas Smedley, Violet Oakley and others.

    The book is a treat and, given the scarcity of Leyendecker material in print these days, a steal at $25 just for the beautiful reproductions of his work.

    On that note, the second item is a new Leyendecker book on the horizon (finally!!). J.C. Leyendecker by Laurence S. Cutler, Judy Goffman Cutler is due in September of this year. The link I give here is to the Amazon pre-publication listing.

    Lastly, for those who can’t get to the show or grab the book(s), I have a nice new Leyendecker web link as well. An anonymous benefactor who goes by the name of Mr. Door Tree has kindly posted some Leyendecker goodies to his Golden Age Comic Book Stories blog, including the image above, Cuchulain in Battle, from The Century Magazine, 1906, which is also in the Society of Illustrators show and catalog.

    Addendum: Unfortunately, as of 8’28/08, the Leyendecker post on Golden Age Comic Book Stories has been taken down, and I don’t know another source for these images. I’ll leave the link in case they reappear.

    Addendum II The new book J.C. Leyendecker by Laurence S. Cutler and Judy Goffman Cutler has been published. While I haven’t gotten my copy yet, reports are that they have done a terrific job, investing years of research and filling the book with hundreds of carefully prepared images.


    J.C. Leyendecker and the European Academic Influence on American Illustation (exhibition catalog $25)
    J.C. Leyendecker (new book due in September, 2008)
    Leyendecker on Golden Age Comic Book Stories
    My recent post on J.C. Leyendecker, with links to previous posts and lots of Leyendecker on the web

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  • The Undersea Adventures of Capt’n Eli (Jay Piscopo)

    The Undersea Adventures of Capt'n Eli - Jay PiscopoThe Undersea Adventures of Capt’n Eli is a reminder of the fun and unpretentious adventure comics of the “Silver Age” (1960’s an 70’s) and before, in this case updated with a bit of anime flavor in the way outline and flat color drawings of the characters are set against rendered and 3-D backgrounds.

    Drawn and written by Maine artist Jay Piscopo, Capt’n Eli was created as a promotional vehicle for a specialty root beer company. Comics and characters created in that kind of role are often half-hearted, designed-by-committee and drawn by disinterested commercial artists. Capt’t Eli, on the other hand, is a delightful exception to that rule, and surprised me when I first encountered it to the extent that I likened it to finding a classic Fantastic Four comic in your shredded wheat box.

    Capt’n Eli carries a bit of that 60’s Marvel flavor, plus some of the wonderful camp feeling of earlier “Golden Age” comics (to which it makes reference with the character of “Commander X”), plus a healthy dose of Johnny Quest, which featured the character design work of Alex Toth. Capt’n Eli is an undersea sci-fi adventure story featuring high-tech submarines, flying mini-subs, time travel, monsters, robots, nefarious villains and lost civilizations; in short, a nice mixture for all-ages adventure comics fun.

    The submarines, helicopters, robots and other tech gadgets in the story are rendered out as 3-D models, giving an additional flavor of Popular Science stories on wild designs for future submarines and aircraft. I particularly like the enemy subs that have a feeling of the Nautilus from the classic Disney version of 20,000 Leagues Under the Sea.

    The combination of the outline and flat color drawings against rendered backgrounds and 3-D objects may seem jarring to some, though anyone whose seen my own webcomic knows I’m completely comfortable with it (grin), and the use of that approach in Japanese animation has made it seem less unusual in recent years.

    It was through my webcomic that I encountered Capt’n Eli, when Jay Piscopo wrote me several years ago and asked me to take a look at the strip, which was then available as a webcomic. I did, and wrote a nice review of it on the Zark Comics Links page. Piscopo subsequently asked me if I would like to write a foreword to the new print collection, which I was delighted to do.

    It took a little time to reach fruition, but The Undersea Adventures of Capt’n Eli has finally been released as a 104 page trade paperback (“graphic novel” format) containing two Capt’n Eli stories and a “Golden Age” Commander X story, and is available through the Capt’n Eli site for $9.99, on the same ordering page with the company’s root beer and other sodas (read “pop” for those of you in the U.S. and Canadian midwest); along with other Capt’n Eli gear. You can also find it on Amazon.

    The volume features a cover by comics artist Steve Rude, and pin-ups by Rude, Herb Trimpe and Howard Chaykin. You can see a few (unfortunately small) sample pages from one of the stories by selecting “The Story Begins” at the bottom of this page. You can also read the full first Capt’n Eli webisode, The Mystery of Me, and some earlier material in the Archives (though, again, the web versions are kind of small).

    The Capt’n Eli site also has a gallery of pin-ups and a bio of artist Jay Piscopo, who has a background as an art director at Tom Snyder Productions producing educational CD_ROMs like Fizz and Martina Math Adventures, created the The Scrap City Pack Rats comic for Goodwill Industries, and was an animator for the ABC Saturday morning show Squigglevision. Piscopo teaches classes in cartooning at the Maine College of Art.

    The second volume of The Undersea Adventures of Capt’n Eli is slated for release in October of this year and should be available though the web site, Amazon and a number of comic book stores.

    Oh, and the root beer’s pretty good too.



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  • Web Gallery of Art

    Web Gallery of Art
    The Web Gallery of Art (WGA) is one of the best and most extensive of the “online museums” on the web.

    The WGA is more specific than some, with a focus on European Art from the Gothic to the Romantic periods (1100 to 1850). The gallery has a search function, as you would expect, as well as an alphabetical Artist Index (at the bottom of every page).

    Clicking on an artist’s name in the index brings up either a page of thumbnails, or, if the artist’s listing is extensive enough, text links to two or more sections, each of which has a page or more of thumbnails.

    Clicking on a thumbnail opens a pop-up with a large version of the image. (I’ve experienced some problems with this when using Safari for Mac, try refreshing the window if it’s blank. The popup feature works more reliably in IE and Firefox). The popup has a choice of images sizes, though 100% seems optimal for quality.

    There is also a column in the thumbnails pages with an “I”; clicking on this gives you a page with a medium size image and text details about the image (date, size, medium and description or background information). The artist thumbnail pages and image detail pages also have a link at page top to the artist’s biography.

    An interesting feature of the WGA is the “Dual Mode” (a link at page top), which makes use of frames (a browser feature that allows for the display of more than one web page in the same window) to allow you to either search a list in one frame and have the results display in the other (the default), or, if you deselect that choice at the bottom of the frame, you can search two lists independently, bringing up two different selections side by side for comparison. (In the image above I’ve chosen to compare Titian’s Man With the Blue Sleeve to one of Rembrandt’s self portraits.)

    As usual with frames, it’s often possible to find yourself a bit confused and you may need to back out to the front page and start over, but it’s a nice feature if you get used to it.

    The Web Gallery of Art has an extensive database of over 20,000 images, lots of information about the artists and the individual works, and nicely includes many drawings and graphics as well as paintings. This can be a terrific resource, and/or a major time-sink.

    Enjoy.



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  • Mark A. Garlick

    Mark A. Garlick
    No, It’s not fireworks, at least not of the terrestrial variety.

    (For the benefit of those in other parts of the world, I’ll point out that today, July 4th, is Independence Day here in the U.S., a holiday usually associated with fireworks displays.)

    The fireworks shown here are celestial, in an interpretation of a supernova, the explosion of a large star that has collapsed in on itself when it can no longer sustain the fusion reaction necessary to hold its current form against the crush of its own gravity, in a painting by U.K. space artist and scientific illustrator Mark A. Garlick.

    Garlick has a doctorate in astrophysics, giving him the scientific background to understand the phenomena he is portraying from the inside out. He has a site devoted specifically to his space art at space-art.co.uk, and another more general portfolio site in which he has galleries of earth sciences illustrations, paleo art, science fiction illustration and additional space art.

    Garlick was working in traditional media, and some of the images are done in gouache, acrylic or pastel; but the majority of his recent work is done digitally, painted in Photoshop, sometimes with the addition of 3-D CGI in 3DS Max, Terragen or Bryce. He will also mix traditional and digital techniques.

    Though he works in a variety of genres, it is his space art and earth science illustrations that I find most appealing. His bright color palette and sense of precise but lively realism give a feeling of immediacy that photography often doesn’t. Of course, one of the things space artists can do is show us views that telescopes and probes cannot. (See my post on pioneering space artist Chesley Bonestell.)

    Garlck’s clients include Scientific American, Asimov’s Science Fiction, New Scientist, The Guardian, Astronomy Magazine, Sky and Telescope and others. He is also a fellow in the International Association of Astronomical Artists, an organization devoted to promoting the genre.

    Garlick is also the author of five popular books on astronomy.



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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