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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.
- Ray Hayward, Inspired Teacher of T’ai Chi ( Taiji ) in Minneapolis, Founder of Mindful Motion Tai Chi Academy
- OldHead Tattoo studio and Art Gallery in Wilmington DE. Tattoos and paintings by Bruce Gulick
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- Lisa Stone Design, interior designer, Main Line and Philadelphia, PA
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Abigail Ryan

Abbey Ryan is a Philadelphia based painter, designer and illustrator who studied here in Pennsylvania as well as in New York and Massachusetts. She has a portfolio site, in which she showcases her illustration and design work, as well as her gallery art.The latter is non-figurative, with arrangements of soft edged shapes that give impressions of movement and suggestions of morphing forms. They are arranged with a designer’s eye for the importance of negative space and rendered with a muted palette and delicate applications of texture.
Given my predilection for representational work, I find more interest in her painting blog, Ryan Studio, in which she has recently taken on the “painting-a-day” discipline, and paints crisp, painterly oils of simple subjects like fruit, vegetables, candy and other immediately available subjects that are often the chosen subjects for daily painters.
Ryan posts large images of her small paintings that are actually large enough to get a good feeling for the surface of the painting and the way the paint is applied, something I wish more artists would do when presenting their work online, both for the benefit of those just looking, and for the benefit of those looking to buy, who must make a judgement about the appeal of a painting from an online image.
Ryan’s strengths show when she arranges slightly more complex compositions and tackles textured and patterned surfaces in addition to her primary subject.
Ryan appears to be fairly young, and her willingness to take on the painting-a-day regimen, and her confidence in working with more complex elements within it, make me think it will be interesting to watch the course of her development as a painter.
[Link and suggestion courtesy of Jason Waskey]
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Art of War: Eyewitness U.S. Combat Art From the Revolution through the Twentieth Century
For the benefit of those in other parts of the world, I’ll mention that today is Veterans Day here in the U.S., a day set aside to remember and honor those who have served in the military over the history of the country; though particular attention is given, as it should be, to those involved in conflicts within the memory of living persons.This past Memorial Day (a U.S. holiday in observance of those who have died in military service) I wrote a post about the PBS series They Drew Fire: Combat Artists of World War II, in which I mentioned this often neglected function of art.
Art as reportage in general, and combat art in particular, gets looked down on by the art establishment as irrelevant, and often “not art”; but then the art establishment has always attempted to elevate itself at the cost of narrowing its vision. The fact is that visual arts like drawing and painting are very different from photography, and reporting a time, place or event through that process gives insight into life and human experience unlike any other. If the purpose of art is to communicate, here is that communication at its most raw and direct.
Artists have been painting their visions of war for centuries, but combat artists have a unique role, that of soldier and artist, participant and reporter, subject and observer. They are able to give us the reality of war in a way that carries the undeniable weight of personal experience.
Art of War: Eyewitness U.S. Combat Art From the Revolution through the Twentieth Century is a collection that puts together artwork depicting war at the level of those who experienced it, both from artists in combat and outside observers who were adapt at capturing some of the same reality.
The book, by combat artist Avery Chenoweth, includes art by a few names you will recognize, John Singer Sargent and Edouard Manet among them, but is mostly of names known only to those familiar with combat art. Some were artist/correspondents for magazines, who also went to the front lines, but most are actual combat artists, soldiers who did double duty as artists.
This is not the “military art” of glorified war machines, sleek warplanes, dramatic fighting ships and cool tanks (though I have to admit here that the 12 year boy in the back of my brain still has a fascination with such things), nor is it an anti-war treatise; it is work by artists who tried to portray war as they saw it, directly, immediately and without filter or apology.
I think it would be hard for those with direct experience of combat to glorify war, leave that to the video game companies and movie makers; combat artists need to convey their experience as honestly as possible.
I haven’t read Art of War, I’m basing my comments on the book on information from those who have, as well as articles and reviews, particularly an excellent article on combat art from the Milwaukee Journal Sentinel, that includes information about Marine Staff Sargent Michael Fay, a contemporary combat artist assigned in Iraq.
I think it’s important that collections like this exist. Here is a role for art that isn’t emphasized and discussed enough. Not only is it a visceral example of the power of art to communicate; but it serves as a reminder, even for those of us who are vehemently anti-war, that the sacrifices of those who have served their nation by putting on a uniform and stepping into the inferno deserve our recognition.
[Images above: “Gassed” by John Singer Sargent (WW I), “Mortarburst” (field sketch) and “The Price” (final painting) by Tom Lea (WW II), “Trip flares” by Michael Fay (Iraq II)]
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Sara Tyson

Canadian illustrator and designer Sara Tyson makes the commonplace monumental, abstracting the forms of her subjects into multi-planed geometric solids and rendering them with colors and textures that give them the weight of planets.She appears to take her influences form 20th century modernism, particularly Picasso’s brand of cubism, Greek sculpture and decorative arts, and 12th and 13th Century European art, as it emerged from the geometric patterns of decoration into figurative realism.
Into this interesting stew she stirs her conceptual editorial approach and produces distinctive illustrations for clients like The Washington Post, CA magazine, The Globe and Mail, The Progressive and others.
Tyson is skilled as a graphic designer as well as an illustrator and that skill is evident in the strength of her compositions, in which the shapes read as strongly as design elements as they do as representational forms.
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M Collier

I know very little about this artist, not even whether “M Collier” is male or female. What little biographical information there is simply mentions that the artist was born in San Francisco, earned a degree in Art History from California State University, has “lived in and traveled to many places”, and now resides in Southern California.M Collier is represented online by a painting blog called Paintings from the Point, as well as by inclusion in the DailyPainters.com site and membership in the Daily Painters Guild. I mentioned Collier briefly in my post last spring about Painting a Day Blogs (Round 6), The Daily Painters Guild. I don’t see any sign of a dedicated portfolio site or mention of gallery representation.
Collier’s paintings appear refined and accomplished, with an emphasis on chiaroscuro and the effects of light as it plays across the the gleaming faces of curved china dishes, around reflective silver surfaces, and through transparent vessels holding water, and usually, flowers.
There is a fascination with light, and the color of flowers and vegetables, but in particular I think, with the way these smooth curved objects sashay the light beams around their forms in graceful arcs and ellipses. If you look at the shapes of the areas of color, soft, muted blue-grays and delicate slivers of highlights, you’ll find those curves and arcs repeated again and again. This is particularly evident in the repeated theme of stacks of teacups, in which your eye follows a swinging line back and forth as it travels down the canvas.
Most of these works are painted in oil on board at a small scale, often 6×6″ (15x15cm), and take on the (I think) difficult challenge of handling square compositions. They are predominantly of small, intimate subjects, treated with a clear realist approach. The compositions usually employ a dark, very neutral background, against which brightest highlights in the foreground objects sometimes go to pure white. Within that range, color is carefully controlled and at times seems almost like an accent; with the red of cherries or the greens and reds of vegetables appearing almost like an extra element on top of a monochromatic final.
When viewing the works in Collier’s blog, there is no “Previous Posts” navigation, so use the dated links in the right hand column. You can also find a thumbnail-gallery display on the DailyPainters.com site that makes it easier to get an overview.
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Forget the film, watch the titles (update)
If you’re a fan of pop songs, particularly from the 1960’s when the three minute pop song was perhaps at its peak as a musical form, you’re familiar with the concept of a “golden intro”, that delicious first 20 or 30 seconds of instrumental music before the vocals start, that was often a thing of beauty in itself, above an beyond what may or may not have been a great song in total.For examples, listen to the exquisite first 20 seconds of the Beach Boys’ California Girls or that wonderful descending pattern that forms the intro to the Kinks’ beautiful Waterloo Sunset; ahhhh – fractional moments of musical bliss. (The existence of these little bits of beauty was, of course, accentuated in being defaced by disk jockeys of the time, who made an infuriating, deranged, grafitti-like art form out of talking over entire song intros and ending their blabbering only microseconds before the song’s vocals started, but I digress…).
Similar to the wonderful hidden jewels of song intros, the introductions, or opening credits, of films have long been a repository for gems that often stand out from their surrounding work; which again, may or may not be up to the quality of the intro.
In recent years the opening credits, once considered a form of entertainment in themselves, also prominently in the 1960’s, have been de-emphasized, their place having been taken by the closing credits. In either case, the titles of films are a sort of hidden and underappreciated art form, rarely in the spotlight but as worthy of attention as animated shorts.
In another example of Why I Love the Internet, there is a site out there devoted to just that concept. Forget the film, watch the titles is part of the Submarine Channel, a portal for independent film. When I first wrote about it back in February, the project was just getting off the ground and the selection was small. On checking back, I’ve found the selection expanded, well worth a return visit.
Much to my delight, it now includes the great closing titles to Lemony Snicket’s A Series of Unfortunate Events (sequence at left), one of my favorite pieces of short animation in recent years (and a prime example of the credits being considerably better than the movie). These were designed and directed by Jamie Caliri, who was the director of the terrific animated ad called “Dragon” for United Airlines last year (see my post on Jamie Caliri).
Like that sequence, the Lemony Snicket titles were done essentially with painted paper cut-outs, artfully drawn, arranged and animated. In the case of the Snicket sequence the lead animators and layout artists were Todd Hemker and Benjamin Goldman. Forget the film is good about not only giving you the credits for the credit sequences, but links to further information.
The collection is not growing rapidly, but you can sign up to receive their newsletter and know when the next title sequence gem has been added to the showcase.
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Ronald Searle

Ronald Searle, the well known English cartoonist and satirist, started drawing cartoons professionally for the Cambridge Daily News at the age of fifteen.He served in WW II as an architectural draftsman and, while stationed in Singapore, was taken prisoner of war when that city was surrendered to the Japanese. Despite the horrific conditions of forced labor, beatings, near starvation and rampant disease, he continued to draw. He made drawings of life in the forced labor camp while working on the Siam-Burma railway, and hid them under the mattresses of prisoners infected with cholera. He managed to bring some of the drawings home with him after the war, where they were exhibited and subsequently published.
Just before he left for the war, a cartoon panel of his appeared in Lilliput, that was to be the first incarnation of a project for which he would later be renowned, about a girls school called St. Trinian whose students were anything but saintly, stirring up trouble and amusement for years. The St. Trinian’s cartoons became tremendously popular and made his reputation, but Searle eventually got so tired of the project that he had the school blown up with an atomic bomb (though they came back).
He became the regular illustrator for Punch’s theatre column and eventually one of their major staffers. In the meanwhile collections of his cartoons were published in titles like Merry England, Etc., and The Rake’s Progress, as well as the wonderful cartoon travelogue A Paris Sketchbook.
Since then, he produced cartoons and illustrations for numerous publications and many collections were published. A number of his books are currently available on both sides of the Atlantic. There is also a biography by Russell Davies.
Searle went on to do work for Disney and other film studios, producing posters, animation designs and related material. In the early 60’s he moved to France, concentrating more on painting and less on cartoons and illustration, but continues to produce work in all three areas.
Searle has produced a remarkable body of work and achieved a unique status. His subjects are handled with thought provoking whimsey and insightful social commentary that, along with his energetic linework, invites comparison to Saul Steinberg.
Searle’s cartoons can bite through our pretensions as a civilized society, reveal us at our most ridiculous and arrogant and put a smile on your face while doing it.
His lines, at times drawn with a Rembrandt-like calligraphy of thin to thick, waver and wiggle and skitter around his drawings with a frenetic energy that keeps you thinking that they may well fly off the page.
Ronald Searle is one of the all time greats of cartooning. There are several resources around the web, the best of which is a tribute blog, Ronald Searle Tribute, maintained by Matt Jones, a freelance artist working in the animation industry in France. It was Matt’s letter about the blog that reminded me that a post on Searle was long overdue (unfortunately, I seem to have lost his email). This extensive collection of Searle articles and art has been running since May of 2006 and is a terrific resource on all phases of the artist’s work.
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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
Urban Sketching: Understanding Perspective
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
Urban Sketching: Understanding Perspective











