Lines and Colors art blog
  • Olga Dugina & Andrej Dugin

    Olga Dugina & Andrej Dugin
    Olga Dugina and Andrej Dugin paint lavishly detailed, richly textured and enthrallingly odd illustrations for children’s books.

    Their intricately detailed paintings can, in turn, carry the feeling of Medieval tempera paintings, the grotesque fantasies of Bosch and Breugel, the carefully arranged tableaus of renaissance tapestries and, in the their collaboration with Madonna (yes, that Madonna) for the fourth in her series of children’s books, a kind of decorative Persian surrealism.

    They say in an interview about their work on that book, The Adventures of Abdi, that they work collaboratively out of necessity, can take anywhere from one and a half to four months to complete an image and tackle a project like Abdi by going straight through, first picture to the last, finishing the cover at the end.

    I haven’t been able to find much information on them or their working methods, but I suspect they are working in opaque watercolor or tempera.

    They are also the authors and illustrators of a retelling of the classic The Brave Little Tailor and The Dragon’s Feathers.

    I can’t find an official site for Dugina and Dugin. There is a small selection of their work on illustrators-online.com and an unofficial archive of the illustrations for The Adventures of Abdi, with nice large images of the paintings.

    Link via Monster Brains.

    Addendum: Reader Tat has found two additional links to excelent resources for their work, here and here. Tat also added a resource to my current post on Russian illustrator Gennady Spirin, who I suggest may have been a influence on Dugina and Dugin. – Charley, 17 November, 2009


    www.illustrators-online.net/dugin
    illustrations for The Adventures of Abdi
    Interview on Calloway.com
    The Adventures of Abdi (Amazon link)

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  • Georges de la Tour

    Somewhere between the emotional drama of Caravaggio and the crystalline stillness of Vermeer lie the intimate, candlelit paintings of Georges de la Tour, a French master whose work was all but forgotten between his death in 1652 and its rediscovery in the early 20th Century.

    I doubt that la Tour was directly influenced by Vermeer (or vice versa), but there is an assumption that Caravaggio’s revelation of form through the use of intense chiaroscuro was a distinct influence on the French painter, particularly in the sharply defined forms in the candlelight scenes of his later career. la Tour painted religious and genre subjects, scenes of everyday life, in his case largely images of the poor arranged as morality tales for amusement of his well-to-do patrons. He refused to indulge in the condescending caricature of his subjects, as was common at the time, and represents them as directly as a portrait.

    The striking characteristic of his later work is the light source, often a single candle or lamp, sometimes with the flame in view but more often with the light source itself hidden by a hand or object in the painting, and the subjects and foreground objects revealed in sharp relief by the simple direct focus of the light.

    Focus seems to be the intent of la Tour’s compositions, most of them have nothing of a background other than the suggestion of shadowed walls and areas of darkness. Just as Vermeer revealed his subjects by capturing a golden moment in the sunlight from a single window, so la Tour grasps a moment of time between the flickers of a candle’s flame, producing a similar feeling of contemplative stillness and of something waiting to be revealed by quiet inspection of the scene.

     

    Web Gallery of Art
    ARC
    Cuiudad de la pintura (ES)
    Artyst.net (FR)
    Louvre (FR)
    National Gallery
    Met
    Frick
    Olga’s Gallery (banner ads)
    John Haber review of 1997 retrospective at National Gallery
    Artcyclopedia (links)

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  • BibliOdyssey

    BibliOdysseyWell, it happened again.

    I was trying once again to bring you this post and I got lost.

    You see, I fell down a rabbit hole, found myself among the very large and the very small, and as everything became curiouser and curiouser, lost myself wandering in wide eyed fascination through a seemingly endless wonderland of the bizarre and beautiful.

    Actually, the rabbit hole, into which I have fallen before on occasion, is BibliOdyssey, a fascinating cornucopia of oddities, obscurities, and delightful discoveries from books (you remember books, that other way of organizing and transmitting information…) and the web.

    BibliOdyssey is a tour-de-force collection of, among other things, bookplates, illustrations, etchings, engravings, color wheels, cloud diagrams, astronomical charts, monsters, angels, flowers, castles, catastrophies, calliopes, cantelopes, velocipedes, gyrocopters, Renaissance fortifications, pop-up books, Persian calligraphy, Art Nouveau posters, Babylonian towers, Japanese woodblock prints, designs for bizarre inventions, medical diagrams, maps, constructions, instructions, deconstructions, all manner of drawings of the strange and wonderful, curiosities and curios, shoes, ships, sealing wax, cabbages and kings.

    peacay (as the author names himself) has an uncanny talent for digging up things, either from books or the Net, that shine out like unexpected and amazing treasures found hidden at the bottom of a forgotten shelf in a labyrinthian antique store (the back door of which possibly opens into another century).

    With a little digging, you will find artists old and new, and often undeservedly obscure, leading to that wonderful, “Wow, I didn’t know about this one!” reaction that I try, when I can, to provide here on lines and colors.

    There is unfortunately (or fortunately, depending on how much time you can afford to spend being fascinated and distracted) no direct way to browse through previous posts by date. There is a link cloud at the bottom of the pages that leads to del.icio.us categories, and peacay has provided a tantalizing row of image links to various and sundry posts on the sidebar.

    As if that weren’t enough, the BibliOdyssey sidebar also provides a fascinating array of links to other internet rabbit holes where you can disappear for hours on end.

    You’ve been warned.

    Addendum: peacay has reminded me that there is, in fact, a collapsible menu of the weekly archive on the sidebar, in the middle of the visual links.

     


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  • Mark Reep

    Mark Reep
    Color, particularly in this era of hyper-kinetic, cathode ray, plasma and LCD display multi-media dazzle, can sometimes make us jaded about our appreciation for the subtle charm of monochromatic works. Like city dwellers taking the time to get away to the country, we might find it worth the trouble to slow down and look for quieter pleasures.

    Mark Reep creates black and white tone drawings of imaginary landscapes. He has repeated themes of stratified cliffs, punctuated with rocky outcroppings or freestanding pillars of rock jutting up through valleys of mist and cloud, often with a lone tree managing to cling to life in the otherwise barren stone formations. The scenes sometimes depict waterfalls and often include stone bridges, arches, stairs or other signs of human structures.

    His works are a combination of ink, graphite and charcoal. Reep works on sheets of acid-free smooth Bristol board, eschewing textured drawing surfaces for the freedom to create his own textures. Ink tones are created with the painstaking process of stipple (see my post on Virgil Finlay). The graphite and charcoal are sometimes applied in their powdered form, allowing the artist to work with them almost like a wash in paint.

    There is a page on his site reprinting a gallery talk in which Reep describes his process, techniques and tools (including those terrific Pigma Micron pens that many pen and ink artists, myself included, swear by). There is also a tutorial by Reep on the WetCanvas site, and notes on altering inked passages and drawing from the imagination on his site.

    Reep also has a blog, Dreams in Black and White, in which he posts recent drawings and discusses process.

    Some of the images on his main site are frustratingly small. (Even though the originals are sometimes small, details are lost in the low-resolution environment of a computer monitor.) The ones on the blog often have larger versions.



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  • Gary Locke


    There is a style in illustration, particularly advertising illustration, in which exaggerated, cartoon-like drawings are rendered in detailed style usually applied to more realistic images. It’s a nice idea that is harder than it looks and consequently rarely done well.

    Gary Locke is one of the few illustrators who gets it right. His wonderfully exaggerated figures, usually in comically theatrical poses, have just the right degree of distortion, rendering and draftsmanship to gel into a whole that works. He even gets me to enjoy the big head/small body caricature style, a form I usually dislike.

    If you read mainstream comic books, you’ve probably seen his Coke ads, often portraying sports figures grinning their way through impossible situations, distorted Coke bottles in hand.

    His site features several ways to view his images by category, including advertising, editorial, animals, character development, caricature and sports. Some of these overlap; character development, for example, features many of his wonderful cartoony animal characters.

    There is also a sketchbook section, with more quickly rendered drawings that let you see the draftsmanship that underpins his more rendered images. The more finished images are created in watercolor and “mixed media” (I suspect gouache among other things).

    His advertising clients include 7-UP, Pepsi, Warner Bros., Coca-Cola, RadioShack and Fisher-Price and he has done editorial illustration for publications like Time, Sports Illustrated, Sporting News and U.S. News and World Report.

    Note: After being off-line for several days from, ironically, the morning of the post, Locke’s site is up and running again.



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  • Mark Zug

    Mark ZugEarly in his career illustrator Mark Zug got what he considered a dream job, illustrating Harlan Ellison’s I, Robot: The Illustrated Screenplay (out of print but can still be found). Since then he has illustrated numerous science fiction and fantasy novels, done editorial illustration for magazines like Popular Science, Amazing Stories, TSR’s Dragon and Dungeon and other gaming magazines.

    Beyond that he has focused on paintings for fantasy game products, creating memorable illustrations for Magic: The Gathering in particular. He received the Jack Gaughan Award for Best Emerging Artist in 2001, and a Chesley Award for Best Gaming Related Illustration in 2005.

    His paintings have a muscular feeling to them, both in the physical characteristics of the heroes, demons monsters and mages he portrays, and in the handling of the paint. His combination of tactile textures and color contrasts give his images a bold physical presence that makes them pop and seems particularly suited to the subject matter.

    You’ll find both newer and older work in his online galleries, including his interpretation of Frank Herbert’s classic Dune. My favorites are in the Magic and Zbooks sections (image at left Claidi’s Journal).

     


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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