Lines and Colors art blog
  • Sterling Hundley

    Sterling Hundley
    Sterling Hundley’s career as an illustrator got off to a quick start. While still a student at Virginia Commonwealth University, his work was chosen for the Society of Illustrators Student Scolarship Competition and the Society’s Illustrators Annual, and appeared in CMYK and Step by Step Magazine.

    He continues to garner awards and notice from the Society of Illustrators, The Illustrators Club, The LA Society of Illustrators, Communication Arts, Print Magazine and others.

    His clients include The New Yorker, The Atlantic Monthly, Rolling Stone, GQ, The New York Times, Entertainment Weekly, Harper Collins and Putnam. He is represented by Richard Solomon (which says a fair bit in itself).

    Hundley’s illustrations demonstrate a bold sense of design and are enlivened with imaginative variations of patterns and textures. His color palette tends to be muted, allowing the textures to assume part of the role normally assigned to color.

    In his posters and book covers he often makes the title and other text an integral part of the illustration; and hand lettered text is used like a texture in some of his works (an interesting way to think of the word “texture”) .

    His figures and faces are sometimes exaggerated, sometimes straightforwardly drawn and often a combination of both approaches. He also manages to combine abstracted shapes and pure design elements with more directly representational imagery. The result is a mixture of graphic elements, drawing and painting that gives the eye lots of variety within a coherent whole, like a nicely rounded meal.

    Eschewing the usual categories into which artists separate their work when presenting it, Hundley interestingly divides his online portfolio into two sections titled “smart” and “pretty”.

    His web site seems to be incomplete, as the “For Sale” and “Journal” sections still promise “Coming Soon”. Although, I’m not sure what “Journal” will be, as the “News” section is already in blog format. Unfortunately the blog as presented on the site is confined to scrolling within a limited-height frame, for reasons that are lost on me. You can view the blog without the frame here. You can also find Hundley posting, blog-style, to Drawger. You will find additional images on the blog and Drawger posts that are not in his online portfolio.

    He apparently works in acrylic and oil, sometimes with digital additions.

    I’m particularly fond of his intriguing portraits of musicians like Carlos Santana (above), Bob Dylan and Gerry Garcia.



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  • Janny Wurts

    Janny Wurts
    Most illustrators are called upon to interpret and represent the essence of a story. Occasionally, illustrators will venture into writing and, even less frequently, writers will have the skill to add illustrations to their own work. Outside of comics, a medium that seems to lend itself better to the role of author/illustrator, it’s rare to find someone as comfortable in both roles as fantasy author and illustrator Janny Wurts.

    Wurts is the author of fourteen novels, including the popular Wars of Light and Shadow series, as well as a collection of short stories; and has co-authored a trilogy with Raymond E. Feist. She is also an award-winning illustrator and her work has been featured in exhibitions like The Art of the Cosmos at the Hayden Planetarium, the exhibition for NASA’a 25th Anniversary, and exhibits of fantasy art at the Canton Art Museum and the Delaware Art Museum. She is also represented in the permanent collection of the Delaware Art Museum with her painting “Dragon’s Run” (which has the honor of sharing a gallery with works by N.C Wyeth, Frank Schoonover, Elizabeth Shippen Green and Jessie Wilcox Smith).

    When illustrating the work of other authors, Wurts, like most illustrators, must make an interpretation of what she feels the writer intended. When illustrating her own stories, however, she has the unusual advantage of being in the writer’s mind and knowing exactly what the author envisioned.

    Though she also works in science fiction, Wurts is most noted for her fantasy illustrations, and you will find her galleries filled with wizards, dragons, warriors and all manner of enchanted creatures as well as her visions other worlds and times. Her galleries also include sketches and works in progress.

    She works directly from a transferred pencil sketch, and paints in oil, and sometimes in oil-alkyd and acrylic.

    Wurts is married to illustrator Don Maitz, who I profiled in February. There is a gallery devoted to their collaborative works.

    There are also special sections in both artists’ galleries devoted to Stolen Artwork, a disturbing reminder of one of the darker sides of putting work on display. In 1995, 23 works by Maitz and Wurts were stolen from a FedEx truck on the way to be displayed at the World Fantasy Con in Baltimore. The works have been registered with the International Fine Arts Registry, but one of the best hopes for recovery may lie in the continued vigilance of fans and other artists in the event there is an attempt to sell or display the stolen works.



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  • Albrecht Altdorfer


    Easter celebrates the Christian ideal of resurrection and rebirth; its setting in early Springtime (and association with fertility symbols like rabbits and eggs) carries forward the idea of new beginnings and the power of nature. It’s also the time of year associated with Cecil B. DeMille’s Hollywood spectacles, with their attendant special effects and thunderously dramatic skies.

    Put together the resurrection of Jesus, the power of nature and spectacularly dramatic skies and you get Albrecht Altdorfer’s The Resurrection of Christ.

    Altdorfer was a Germain painter and printmaker who was more or less contemporary with Albrecht Durer. Though not Durer’s equal (who was?), Altdorfer was one of the most accomplished and influential painters of the time. Even though he painted mostly religious works, he was intensely interested in landscape, and is credited as the first major artist to bring landscape to the fore as a subject for painting in and of itself.

    His fascination for landscape and the power of nature carried over into his religious paintings, where great attention is given to the natural settings for many religious events. In particular, I have always been struck by his dramatic skies, which would have done well as examples for ILM in their special effects skies for Close Encounters of the Third Kind and Raiders of the Lost Ark.

    In his Resurrection of Christ the skies around Christ’s golden halo boil with brilliant reds and yellows, while above, framed by the dark arch of rock, the parting darkness is more suggestive of a storm-tossed sea than mere darkened clouds.

    For another great Altdorfer special effects sky, along with a sweeping landscape and a cast of thousands, see his remarkable Battle of Alexander.

    Altdorfer was also renowned as an engraver and creator of woodcuts, and was particularly noted for his miniature engravings, many of which were only an inch or two on a side.



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  • The $100,000 Animation Drawing Course

    Preston Blair Advanced Animation
    Wow! What an amazing treasure trove this is for anyone interested in animation or cartoon drawing.

    It should really be titled: “The $100,000 Animation Drawing Course for $8”. There is so much great stuff here that this should be a site of its own, but it’s actually part of the terrific ASIFA-Hollywood Animation Archive Project Blog. There are a multitude of resources here that will be the subjects of individual posts in the future, not the least of which are Preston Blair, Jon Kricfalusi and the Animation Archive itself, but I want to concentrate here on the “Drawing Course”, the premise of which is best summed up by Kricfalusi in his introduction:

    “You can go to animation school, spend a $100,000 and not learn a damn thing about the basics of good animation drawing- OR you can buy a Preston Blair book for $8 and learn it all in a couple months. You pick.”

    To back it up, Kricfalusi, the animator and instigator responsible for the brilliantly demented Ren and Stimpy cartoons, among other things, proceeds to take you through his course in 10 pages, with the assistance of supplied materials like pages from Preston Blair’s classic instruction book, his own model sheets for Ren and Stimpy, and model sheets from Disney, MGM and elsewhere. Remarkable.

    Preston Blair was a brilliant animator for Disney (Fantasia, Pinocchio, Bambi) and MGM (on many Tex Avery classics) who wrote what is considered to be the definitive book on cartoon animation; originally released in its first edition as Advanced Animation; later revised and altered in content because of contractual disagreements and re-released as Preston Blair’s Animation; re-edited and changed in format with tall pages split in half and reorganized to make a horizontal format out of a vertical one (and unfortunately overexposed in repro, losing most of the halftones), and released as Cartoon Animation; and restored to vertical format (but still missing the original, contractually conflicted content) in two volumes as Cartooning: Animation 1 with Preston Blair and Cartooning: Animation 2 with Preston Blair. The second volume is unfortunately out of print and overpriced from many sellers, but you can pick up the horizontal format Cartoon Animation volume to make up the difference.

    Despite any of my comments about the disparity between the original and revised volumes (which Mark Deckter makes clear on his blog here and here), this is still far and away the best book available on animation and drawing for cartoons, bar none. (Some younger artists starting on the path of cartoon animation may think of this as “old-fashioned-looking” and hence irrelevant. Oh how wrong you are. When you can draw as well as Preston Blair, come and tell me that.)

    One of the great perks here is that the bulk of Preston Blair’s original book, the one with Disney and MGM characters in it, has been posted to the Archive in nice big scans with halftones intact (here and here, in addition to the links in the course – you’ll still want a printed copy to work from, though). This by itself is invaluable (this version of the book is long out of print and incredibly expensive as a rare book); combine it with Kricfalusi’s guidance and other resources and you have the makings of a real cartoon drawing and animation course.

    You have to supply the impetus and determination to follow it, of course, but it really is amazing how much knowledge and expertise is here for the taking. (If you find it worthwhile, consider helping to support the Archive for making it available with a donation for a tiny fraction of its real value.)

    Kricfalusi is carrying on with more drawing lessons on his own blog, all kinds of stuff, which is just that, all kinds of stuff about drawing, writing and animating cartoons.

    You say you’re interested in animation and cartoon drawing? There’s enough here to keep you learning steadliy for a full school year or more. Or maybe you want to make your comic book drawing or cartoon illustration more solid, crisp and snappy? What are you waiting for? Pick up your pencil and draw!



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  • Sergei Bongart (update)

    Sergei Bongart
    When I first wrote about Russian-American painter Sergei Bongart back in January of this year, I was disappointed with the small number of his works that could be seen online.

    Happily, Patricia Le Grand Bongart, Sergei Bongart’s wife and an accomplished artist herself, wrote at the time to tell us that there was both a web site and new book devoted to Sergei Bongart in progress.

    She has just written again to tell us that the new web site is up, and the book on his painting method, Sergei Bongart …touched by the gods, is now available.

    The interesting title of the book comes from a quote from Bongart: “There are two kinds of artists, the emotional painter and academician. The academician can paint into old age sitting on his stool licking his canvas until 98 years of age. The emotional artist burns himself up; he does not live long. The academician always creates something acceptable, boring, but acceptable. The emotional artist often misses, but when he hits it is breathtakingly beautiful,… touched by the gods!”

    In addition to the new book, there is a video of Patricia Bongart demonstrating the Bongart Method and an audio CD of Sergei’s classroom lectures (apparently in a fairly heavy accent).

    The new web site features a gallery with about 60 works, including some by Patricia Le Grand Bongart. Of the works by Sergei, there is a wonderful variety, including life drawings and travel sketches in addition to his brilliantly colored landscapes and still life paintings.



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  • Flight 4 preview

    Flight 4
    For those of you who think that “comics” = pointlessly endless stories of musclebound, spandex-clad goons, grimacing as if terminally constipated while bludgeoning one another senseless, I once again offer the antidote and alternative of the Flight anthologies of comics stories.

    I like to emphasize the release of these particular books, not only because they’re excellent, but because I think they offer those who have been put off by the harsh face presented by mainstream American comic books a potential path into the joys of an entire and often overlooked medium of expression.

    I’ve mentioned previous Flight comics anthologies before, here and here, as well as in posts on some of the individual artists. The newest volume, Flight 4, is due to be released this summer.

    Newsarama, the venerable online comics news source, has posted a 57-page preview of the upcoming volume. Click on the preview images and you’ll find images of pages from the book, reproduced large enough for you to get a nice idea of some of the wonderful variety of artistic styles and approaches to storytelling you can expect from this talented group of young artists.

    From the look of the preview, Flight 4 promises to be the strongest volume yet.

    (BTW, just for the record, I really like many of the pointlessly endless stories of musclebound, spandex-clad goons, grimacing as if terminally constipated while bludgeoning one another senseless in American mainstream comics. I just think it’s unfortunate that many people think that, and the watered down leftovers that pass for newspaper comics these days, are all that comics have to offer.)

    Link via Comixpedia



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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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Urban Sketching: Understanding Perspective
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World of Urban Sketching
World of Urban Sketching

Daily Painting
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Drawing on the right side of the brain
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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