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Promoting some friends and some clients of my website design business
- Twin Willows T’ai Chi studio in Wilmington DE. Taiji classes with Bryan Davis.
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RSA Animate (Cognitive Media)

The Royal Society for the encouragement of Arts, Manufactures and Commerce, sometimes shortened to Royal Society of Arts, or RSA, is a British institution founded in 1754 to “embolden enterprise, enlarge science, refine art, improve our manufactures and extend our commerce”.Among their many endeavors is a series of talks in which leading thinkers examine social challenges and seek to shed light on issues both contemporary and timeless.
Some of those talks have been incorporated into animated presentations, in which the speaker’s words are accompanied by time lapse animation of a cartoon illustrator drawing and writing a clever whiteboard presentation of the topic.
These are created by a studio called Cognitive Media, though I couldn’t find individual artist credits. The stop motion is occasionally accompanied by added animated elements, but the end result seems seamless and is often clever in the way already drawn elements are repurposed as the talk and animated presentation continue.
The result is a visually entertaining presentation that holds your interest and adds clarity to concepts that might otherwise be a bit off-putting an effective combination of words and pictures.
[Via BoingBoing]
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James C. Christensen

James Christensen’s paintings range from straightforward portraits to fantasy tinged depictions of angels and Renaissance ladies to phantasmic tableaux of fantasy subjects that look as though the books in a children’s library had been run through a fan and reassembled by a cross-eyed surrealist.Christensen seems to swim in a rich sea of influences, from medieval, Renaissance and baroque art to Golden Age illustrators like Arthur Rackham, Edmund Dulac, Kay Neilsen, John Bauer, and Gustaf Tenggren. You can even see suggestions of the obsessively detailed fairy paintings of Richard Dadd.
At his most expansive, Christensen’s wonderfully detailed and brightly garbed fantasy world denizens parade across lavishly textured landscapes, awash in saturated colors, sprinkled with luminescent details, carrying with them a trove of references to literature and folklore.
Christensen was born in California and studied at Brigham Young University and UCLA. His work has been featured in a number of publications and books, including Voyage of the Basset, A Shakespeare Sketchbook, Rhymes & Reasons, A Journey of the Imagination: The Art of James Christensen and James Christensen: The Greenwich Workshop’s New Century Artists Series.
I don’t know if the artist has an “official” site; jameschristensen.com is associated with the Jerry W. Horn Gallery, and offers original art as well as reproductions. Unfortunately the images are small and the site is poorly organized, but it shows a broad range of Christensen’s work and styles.
Larger images can be found at the Greenwich Workshop’s online gallery, B&R Gallery and Swoyer’s Fine Art.
One of the best pages for a quick overview of his fantasy themed work is this unofficial page on 2photo.ru. I’ve listed other resources below.
[Via Monster Brains]
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The Haggin Museum Leyendecker Collection

The Haggin Museum in Stockton, California has the largest collection of works by the great American illustrator J.C. Leyendecker held by any museum.The collection had been on tour for some time and returned to the museum in May. Since then work has been completed on a newly remodeled gallery in which the collection will be on display until December 31, 2010 (just long enough for the next installment of my traditional Happy Leyendecker Baby New Year post).
Unfortunately, the museum has not matched the renovated gallery display with a much needed revision of their online image gallery, which still suffers from images with camera lens distortion and color aberration (I’ve straightened out a few of the above images with the Lens Correction filter in Photoshop).
The images are also frustratingly small, but you can get an idea of the breadth and depth of the collection, which contains some superb examples of Leyendecker’s work, as well as unique early pieces.
The museum’s website does include an article about the exhibit and a Leyendecker biography, which includes a history of the collection and of Earl Rowland, the museum’s former director who assembled the museum’s holdings of Leyerdecker and other noted illustrators.
As far as I know, there is not a printed catalog of the museum’s Leyendecker collection, but a new, long awaited book on Leyendecker was released in 2008, J.C. Leyendecker, by Laurence S. Cutler and Judy Goffman Cutler.
J.C. Leyendecker, for those who are unfamiliar with his work, was one of the finest illustrators in the history of the art form. His relative obscurity continues to amaze me; he should at least share the spotlight usually focused on Norman Rockwell, if not eclipsing him to some degree.
For a quick selection of large images, see these two articles on Golden Age Comic Book Stories. For more on Leyendecker, including additional links to large images and other resources, see some of my previous posts listed below.
[Addendum: Since publication of this article, the Haggin Museum has updated their online gallery with some higher quality images of 8 of the works.]
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MagCloud

As necessary is it is these days for artists to have a presence online, there are times when print is the medium of choice for showing one’s artwork, whether as a leave-behind for galleries, a sample book or portfolio for prospective clients or as a printed book for collectors.I wrote back in 2008 about Blurb, and other modern print-on-demand services that allow you to create and print a professional looking 8x 10″ book, up to 40 pages, in quantities as few a one copy, for as little as $20; providing a terrific alternative to traditional means of printing portfolios or sample sheets for presentation to galleries, potential clients or buyers.
These are printed on Hewlett Packard’s Indigo digital press, in a process that produces results close to the more expensive process of offset lithography. The pages are bright and crisp with rich color, well suited to inexpensively reproduce color artwork and photography.
Blurb books are bound like a book and have a minimum of 20 pages; nice if you have a fair bit of work to present.
For a smaller body of work, an alternative resource is MagCloud, a service from HP that uses the Indigo press to produce short run on-demand magazines. This allows you to not only create a short run magazine on a schedule if you like, but also to create magazine-like printings that you can order yourself to use as handouts, or gallery leave-behinds, that can be as few as 4 or as many as 100 pages.
For magazines with more pages, they also offer a “perfect bound” option (a square binding as opposed to the fold and staple, or “saddle stitched” binding used in thinner magazines). These can be from 20 to 384 pages.
Unlike Blurb, which offers a free software application to allow amateurs to easily layout a book, you’re kind of on your own with MagCloud; but all you need is any software that will allow you to create and output a PDF file of the appropriate dimensions.
Like Blurb, MagCloud has a online store that allows you to offer your publication for sale if you want. They have a base price of 20 cents U.S. per page, and you mark up your publication to whatever price you want to set beyond that. The website has a feature that allows you to provide a multi-page online preview of the printed piece.
In theory, you could even publish comics, but the size is limited to 8 1/2 x 11″, not a standard comics format in the U.S. or Europe. I don’t know to what degree the service is available outside the U.S.
The New York Times has a photo/audio essay about a group Making a Magazine with MagCloud, and Read Write Web reports that MagCloud is rolling out a new feature that lets you create an iPad optimized version of your magazine.
A friend of mine, photographer and 3D computer graphics animator Harry Saffren, has been publishing his series of photographs of food on plates (as sequential images of the progress of consuming a meal) as 16 page issues of Plate Magazine. I was impressed with the results. Though there is no “cover” of heavier stock on the shorter run magazines, the reproduction is very like a professional newsstand magazine, and the printing reproduced the the bright vibrant colors of his original photographs to a remarkable degree.
MagCloud has an introduction as well as a Help page to get you started.
(Images above, links are to MagCloud page for that publication: top 2: Harry Saffren’s Plate Magazine, Paintings of Lesley Deacon, The Artwork of Bonnie Gloris, Works, American Painter John Grazier, Concept Art by Josh Mongeau 2010, SLAM (Support Local Arts Magazine), Fire Mass, eatsleepdraw magazine, John Bell, Jr. Paintings & Prints)
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On Beauty and the Everyday: The Prints of James McNeill Whistler

I’ve written before about the beautiful etchings of James McNeill Whistler, whose work as an etcher is even less well known than his paintings.On Beauty and the Everyday: The Prints of James McNeill Whistler is a new exhibition opening this Saturday, August 21, 2010, at the University of Michigan Museum of Art, which has one of the most extensive collections of Whistler’s graphic work in the U.S.
The collection, which you can preview here, contains examples of some of Whistler’s finest and best known etchings.
Unfortunately, both the exhibition page preview (link for “More Images” at bottom) and the above images of the collection (meant to facilitate ordering slide sets) are small.
Etchings by their nature are subtle, with delicate lines against toned papers. This is part of their unique visual charm, but it makes them difficult to do justice in reproduction. There are some larger images on the site of the Frick Collection in New York. You can find impressions of some of the same etchings in both collections.
Some of the best online reproductions I’ve found are on the University of Glasgow’s site for James Mcneill Whistler: The Etchings, A Catalog Raisonne. Unfortunately the Catalog Raisonne mentioned is a book project, and the online resources are from from complete, but what is there is large enough to appreciate some of the subtlety of Whistler’s touch. You have to drill down a bit. Go to “Exhibition”, scroll down, click on the thumbnail to access the detail page, then click again on the image for the large version.
Next best may be the online images from the Freer Sackler Online Collections.
You will sometimes find the same etching in different “states”, impressions pulled form the plate at various stages of the artist’s work on the image.
Whistler was inspired by the etchings of Rembrandt, likely the finest practitioner of the art in history, and to a great degree revitalized the art in his time and placed himself high in the canon of the world’s great etchers and lithographers.
The exhibition at the University of Michigan Museum of Art continues to November 28, 2010.
For more information and links to resources, see my previous posts on James Abbott McNeill Whistler and Whistler’s Etchings. In the latter I give a brief overview of the process of creating an etching.
Etchings of James McNeill Whistler is wonderfully inexpensive Dover book.
I haven’t seen Etchings by Whistler: Sixty Photographs from Original Prints. It’s a facsimile of a book published in 1923 and I don’t know how well it’s fared in the reproduction.
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Sebastian Krüger

Well along in a successful career as a designer and illustrator, German artist Sebastian Krüger began focusing on painting highly exaggerated caricature portraits of pop and music stars, particularly the Rolling Stones who he had met early in his career.Since 2005 he has abandoned commercial work and devoted himself to gallery painting. As he has restlessly explored the boundaries of exaggeration possible in a recognizable face, he also began to work at large scale and in increasing degree of detail.
His large canvasses are now often highly realistic even when wildly exaggerated. Someare more straightforward, though often rendered with an intensity that makes them seem more exaggerated than they are.
I thought it was interesting that his portrayal of Jimi Hendrix, who went to lengths to present himself as an outlandish individual, is completely straightforward (and wonderfully realized).
I’m not familiar enough with his career to know if Kruger is moving more toward realism, but many of his recent pieces seem to be in that direction.
Krüger’s website is still in progress, but he has a current blog, and two additional blogs devoted to exhibitions and publications.
The artist occasionally leads workshops, and conducted his first in the U.S. early this year. Krüger works in acrylic on panels, at a scale you can see in the workshop image above.
There is a gallery site here that I think is unofficial, but it gives a nice range of his work and a fascinating tour through the degrees of exaggeration and intensity Krüger has brought to his “personality portraits” over time.
There is an article on Empty Kingdom that gives a good quick overview of his recent work.
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Charley’s Picks
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John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective
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John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective











