Lines and Colors art blog
  • Gabor Svagrik

    Gabor Svagrik
    Hungarian born Gabor Svagrik immigrated to the US with his family and studied at the American Academy of Art in Chicago. He has also studied independently with a number of other painters.

    He now conducts workshops at the Tucson Art Academy, which he founded, and through that venue brings many well known painters to the area for both studio and plein air workshops (see my recent post on Matt Smith).

    Svagrik has created several instructional DVDs, which are also available through the Tucson Art Academy site. There are sample excerpts of the videos on both sites.

    His website contains a selection of his available paintings, which show his strong compositional sense, carefully controlled color palettes and effective use of texture, along with a number of economically rendered oil sketches on paper.

    Svagrik also maintains both a personal blog and a Tucson Art Academy blog.

    (I was interested to note that in addition to Matt Smith, the roster of workshop instructors on the Tucson Art Academy site lists a number of artists I have featured here on Lines and Colors, including: Ken Auster, Kenn Backhaus, John Budicin, Joseph Paquet, Ray Roberts and Colley Whisson.)



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  • Gérard Michel

    Gerard Michel
    Gérard Michel is a Belgian architect based in Liége, who also teaches courses in sketching and drawing at the school of architecture there.

    Aside from that, I know little about him except for the wealth of his wonderful location drawings as displayed on the Urban Sketchers blog and on Michel’s own Flickr sets.

    He sketches in pencil, pigment liners and watercolor.

    In keeping with his background, Michel excels at rendering buildings and architectural forms and evidences a fascination with them. He has a wonderful knack, however, for leaving parts of his drawings open and sketch-like, even though they can be very exacting in their proportions and perspective.

    He has been posting hundreds of his wonderful sketches from his sketchbooks, both of his home city of Liége and his travels elsewhere, to his Flickr stream. You can get a quicker overview by looking through his Urban Sketchers posts, but the Flickr sets are well worth exploring.

    There is a brief clip of him sketching on Vimeo.



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  • The Bodmer Oak, Fontainebleau, Claude Monet

    The Bodmer Oak, Fontainebleau, Claude Monet
    I just love this particular painting by Monet, even though it is in some ways uncharacteristic of the work for which he is best known.

    In this early painting, done when he and several other early Impressionist painters had come to join their Barbizon compatriots in painting “en plein air” in the forest of Fontainebleu in the early 1860’s, Monet has not yet developed the full dissolution of the image into a flurry of short brushstrokes that would characterize his mature style.

    The beginnings of that approach are evident, particularly where appropriate to the canopies of the trees and the dappled play of light across the forest floor, but the trunks and branches are painted directly, with broad strokes and rich passages of dark color.

    The painting gets it name from an appellation given to this particular oak, which was a repeated subject of Swiss painter Karl Bodmer (later changed to Charles Bodmer). Here is one of Bodmer’s paintings of the tree (from here).

    In many ways I prefer painting styles that combine elements of the Impressionist approach with more direct painting (e.g. the “American Impressionists”) to the full-out style of high Impressionism, so I find paintings like this particularly appealing.

    I had the pleasure of seeing this painting “in context” as part of the exhibition In the Forest of Fontainebleau at the National gallery in Washington a few years ago (see my post here), where it stood out as one of my favorites from the show and remains one of my favorites by Monet in general.

    I also make a point of visiting it when it is on display in at the Metropolitan Museum of Art in new York, where it is part of the museum’s collection. In keeping with the excellent practices of their website, the Met has provided a wonderful high-resolution image of the painting.

    A beautiful painting, and also an instructive example in the development of French Impressionism.



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  • Ralph McQuarrie, 1929–2012

    Ralph McQuarrie
    Ralph McQuarrie was one of the best, most important and most influential film concept designers and visual development artists in the industry.

    He is best known for his groundbreaking work on the original three Star Wars films, but worked on numerous other projects.

    McQuarrie died yesterday, March 3, 2012, at the age of 82.

    The official Art of Ralph McQuarrie website, though informative in some respects, is unfortunately not forthcoming when it actually comes to art, the galleries consisting essentially of thumbnails without larger images. Despite my best hopes, it has been that way for some time, so I don’t know if there is even an intention to provide real images in the future.

    Fortunately, for the moment at least, the StarWars.com site has a nice tribute to McQuarrie, with a slideshow of images large enough to do his wonderful ability justice.

    There is a nice tribute here from illustrator Greg Newbold.

    See also my previous post on Ralph McQuarrie.

    [Addendum: another terrific and large set of images of McQuarrie’s work on Concept Ships (Via Daring Fireball)]

    [Via Tor.com]



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  • The Story of Animation

    The Story of Animation, David Tart and Tumblehead Studios
    Though it’s nicely tongue in cheek, The Story of Animation, a short video from graduates of The Animation Workshop, has an actual purpose.

    The talented young animators graduating from the Danish animation school found companies interested in using animation in promoting their products or services, but they also found their potential clients ignorant of the process of creating an animation and laboring under misconceptions about things like the degree of involvement required from them and the difference in cost in creating different kinds of animation.

    The film is more an introduction to the process of working with an animator or animation studio on a commercial animation than an actual history of the form, but it is amusing and well done with a nicely retro/modern feel.

    The animation has a dedicated website. The short was written directed by David Tart and animated at Tumblehead Studios, additional credits here.

    You can find reference and links to a number of other animations from former students of The Animation Studio on this MetaFilter post which is where I learned of the film.



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  • Blown Covers

    Blown Covers: oan Reilly, Teresa Rodriguez, Daniel Hertzberg, Andre Slob, Chee Yang
    Even those who are not regular readers of the magazine often find great pleasure and fascination with the New Yorker’s witty, clever, and often beautifully drawn and painted covers.

    New Yorker covers are such a recognizable and distinct format, and have so much history of superb work by terrific artists, that they are practically an art form in themselves.

    Many artists who are not New Yorker cover artists have playfully thought “What would I do with a New Yorker cover?, and perhaps indulged in some sketches, or participated in the magazine’s Eustace Tilly Contest (myself included).

    Françoise Mouly, who is the New Yorker’s current art editor, has apparently been thinking playfully about New Yorker covers as well, though perhaps in a different context, and has launched a new personal blog, Blown Covers, subtitled “New Yorker covers you were never meant to see”, in which she is holding weekly themed cover contests.

    The concept is based on Mouly’s book of the same title, Blown Covers, in which she features actual submissions and preliminary versions of real New Yorker covers that didn’t make the cut, sometimes for hilarious reasons.

    Each Monday Mouly will suggest a cover theme, anyone who wants to participate can then indulge in creating their version of a New Yorker cover with that theme and submit it to the site through an online form or via email. Mouly will select a winner to be posted on the site on Friday, along with selected runners up.

    This is not official and not associated with the New Yorker; it’s just Mouly’s fanciful take on the idea. She makes a point of saying that the selection is according to her own “subjective whims”, but of course the interesting thing is that these are the same subjective whims that contribute to the selection process for the real New Yorker covers.

    Mouly also points out that she prefers sketches to more finished work (which is likely more in keeping with the real process for development of a New Yorker cover), and is more interested in a good idea than good drawing.

    Deadline for each week’s submissions is Thursday at noon.

    I’ve included some images above from the recent topic: “In like a lion, out like a lamb”, including the winner, Joan Reilly, and the gallery of runners up.

    For those not familiar with Françoise Mouly outside of her current role as New Yorker art editor, she is an artist and designer who worked for a time as a color artist for Marvel Comics, and created the pioneering RAW magazine, which showcased cutting edge (and out-on-the-edge) comics and illustrated stories, along with the RAW Books imprint.

    Mouly also created Toon Books, a publisher of hardbound graphic stories for kids (see my post on Toon Books).

    Mouly is married to comics artist and author Art Spiegelman, creator of Maus and In the Shadow of No Towers. Her daughter Nadja Spiegelman is the co-author of the Zig and Wikki titles in the Toon Books series, along with Trade Loeffler, creator of Zip and L’il Bit (see my posts on Zip and L’il Bit, and here).

    (Images above: Joan Reilly, Teresa Rodriguez, Daniel Hertzberg, Andre Slob, Chee Yang)



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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