Lines and Colors art blog
  • Joshua Middleton (update)

    Joshua Middleton, comics, covers, illustration
    Joshua Middleton is an illustrator, comics artist, concept artist and art director who I first wrote about in 2006. At the time, he was primarily working in comics; since then, he has worked in film and television for clinents liks Universal, Lionsgate, Sony, Sony Pictures Animation and Warner Brothers; and as a cover artist for book publishers such as Scholastic, Abrams, Bloomsbury, Tor, Viking and Disney.

    Middleton has also come full circle back to comic book publishing, becoming noted in particular for his striking cover art.

    Comic book covers owe their lineage to the pulp magazine covers of the 1930s and 1940s. In those, flashy, often lurid images were used to grab your attention and get you to plop down your precious dime and pick up the magazine.

    Comic book covers are basically in service of the same function: grab your attention and make you want to buy the publication. In pursuit of this, a lot of comics covers over the years have fallen into the least-common-denominator routine of being loud, brash and in-your-face. Not that there isn’t a place for that, but Middleton and some of his contemporaries have been raising the bar.

    Middleton’s covers are attention grabbing to be sure, but also subtle in a way that is still unusual, with keen attention to nuanced shifts in color and value, and the use of fine, single-line weight outlines. The latter retain the graphic appeal of traditional comic art, but shift the line-to-color balance to bring the color forward, more in keeping with the styles of European and Japanese comics than mainstream American comics.

    In particular, Middleton has been grabbing attention, both individually and on a larger scale, in his series of striking covers for DC Comics’ Supergirl.

    Middleton brings some of that same nuanced sensibility to his book covers. Though usually more rendered than his comics covers, and often without outlines, these also pull back from over-rendering into a balance of shape and color that is particularly appealing.

    Middleton’s current website serves as a blog, in which he features finished work as well as work in progress, various projects and comments on other topics. In the right-hand column you’ll find links with which you can sort for categories like “finished work” or “sketches”.



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  • Carl G. Evers

    Carl G Evers, marine painting and illustrations of Philadelphia in the 1050s for Philadelphia Electric Company
    Carl Evers was a 20th century German/American artist, noted in particular for his marine paintings. He is generally considered one of the foremost American marine painters of the century. His evocation of the action of water, particularly roiled by storms and high waves, is just wonderful.

    Evers was also an accomplished illustrator; his work appeared in publications like The Saturday Evening Post, Argosy, Yachting, and The Readers Digest, as well as in advertisements for companies that dealt with marine transport, such as Cunard, Grace Line, Farrell Lines, United Fruit and Moran Towing (biographical notes from J. Russell Jinishian Gallery). For some reason, Evers is rarely mentioned in compendiums of American illustration.

    As much as I admire Evers’ marine paintings, I especially enjoy his illustrations. In particular, as a long time resident of the Philadelphia area, I just love his series of stunning portrayals of our beautiful and too often ignored city. These were done for a series of advertisements for the Philadelphia Electric Company in the early 1950s.

    Evers was a master of his chosen mediums of watercolor and gouache, bringing to bear their suitability for intricate detail in astonishingly complex images, particularly large scale panoramas of Philadelphia, that, despite their level of detail, never feel forced or stiff.

    James Gurney has this morning on his always fascinating blog, Gurney Journey, posted an article with “Five Tips from Carl Evers“, which prompted this post on my part.

    The best source I’ve found for Evers’ work is this terrific post from Robin Benson on PastPrint, which has lots of large images, particularly of the Philadelphia Electric series.

    Also good are two articles on Today’s Inspiration: ‘Carl G. Evers: “amazing scope and talent”‘ and ‘Carl G. Evers: able to portray “an ocean of almost infinite moods.”‘, by guest author Charlie Allen, supplemented with Lief Peng’s Flickr set. The J. Russell Jinishian Gallery has a selection of available Carl Evers originals.

    There are three images on Heritage Auctions, that have slightly larger versions on roll-over. Those with a free HA account can access high-res versions. Those with a Pinterest login can find Evers’ work here; likewise FB here.

    There is a long out of print 1975 collection of Ever’s work, Marine Paintings of Carl G. Evers, that is available used on Amazon (also here).

    [Suggestion courtesy of James Gurney]



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  • Eye Candy for Today: JMW Turner etching and mezzotint

    Bridge and Cows (Liber Studiorum, part I, plate 2), Joseph Mallord William Turner
    Bridge and Cows (Liber Studiorum, part I, plate 2), Joseph Mallord William Turner

    In the Metropolitan Museum of Art; use the zoom or download links under the image.

    Part of a series of etchings Turner produced, categorized to illustrate the various kinds of landscape (in this case “P” for “Pastoral”), this beautiful etching and mezzotint was, like the others in the series, derived from preliminary drawings Turner did in brown watercolor, and is printed in brown ink, carrying forward that wonderful quality that such drawings can have.

    The byline indicates “Designed and etched by Joseph Mallord William Turner”, but as the Met’s page points out, the mezzotint was applied to the plate by engraver Charles Turner (no relation), with whom JMW Turner frequently collaborated.

    (For a bit more on mezzotint, see my Eye Candy post on James Stephenson’s mezzotint version of Millais’ Ophelia.)

    I love Turner’s loose, gestural line, the delicacy of the clouds, and the wonderfully textural quality and moody darks of the tree trunks and bridge.


    Bridge and Cows, Met Museum

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  • Cara Brown

    Cara Brown, watercolors
    Cara Brown’s luminous watercolors of flowers, fruit, grapevines and other subjects are awash in sunlight, and resonate with vibrant, but never overdone color.

    Many of her compositions are closeups of blossoms or fruit still on the plant; in essence they are treated like in-situ still life subjects. She often uses soft edges in her backgrounds to suggest depth, portraying her intimate subjects with harder edges to bring them forward.

    Seeing her work in small reproductions, one might be tempted to think of some of her paintings as “photo-realistic”; but to do so, I think, is to do them a disservice. That effect is likely a function of the relatively large scale of many of the originals. In the generously sized reproductions she has provided on her website, you can see how true her rendering is to the inherent nature of watercolor.

    Though there is a section of available originals, most of the paintings on her site serve as samples for the purchase of reproductions. You will find them listed by subject in a drop-down from the “Gallery” link. Be aware that some categories extend to more than one page.

    I particularly enjoy her series of Zinfandel grapes on the vine, from a tiny vinyard in her brother’s back yard. In these, light seems to cascade down the forms as though drawn by gravity.

    Brown has a Journal, in which she discusses process, and displays work in progress. She teaches workshops in Marin County, CA, near San Francisco.



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  • Eye Candy for Today: Sargent’s Tyrolese Interior

    Tyrolese Interior, John Singer Sargent
    Tyrolese Interior, John Singer Sargent

    In the Metropolitan Museum of Art; use the zoom or download links under the image.

    Keenly observed and economically rendered, this beautifully evocative interior, bathed in light from an unseen window and set off with religious artifacts subtly revealed in the shadows, is more in keeping with Sargent’s personal watercolors than the posed portraits that he sought to get away from on his travels.


    Tyrolese Interior, Met Museum

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  • John MacDonald

    John MacDonald, landscapes
    Massachusetts artist John MacDonald is an illustrator as well as a painter.

    His landscapes, both plein air and studio work, are sensitive to the changes in light across the seasons, at times with a soft, tonalist approach, and at other times with more sharply defined edges. He often includes creeks and streams in his compositions, through which light cascades as well as water.

    His website includes both large and small studio work, as well as a selection of plein air paintings.

    You will also find a selection of prints in a process he calls “digital woodcuts” (images above, bottom three). In these, he starts with a painting in white gouache on black Arches paper, scans it, and then works in Photoshop with digital drawing tools to create layer after layer of individual colors, much like the traditional printmaking processes in which he was trained. You can access a PDF outlining his process from the same page.

    MacDonald teaches painting workshops in various locations. His work will be the subject of a solo show at the Harrison Gallery in Williamstown, MA from April 4 to April 29, 2015.

    [Via PleinAir Collector]



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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