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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
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Zhaoming Wu

Zhaoming Wu is a Chinese painter and teacher who has been a professor of painting at the Guangzhou Academy of Fine Art in China and is currently an instructor of panting at the Academy of Art University in San Francisco.His work has garnered awards in China, Europe and the U.S. and has been featured in a number of publications including Art of the West and International Artist Magazine.
Wu paints figures, portraits and landscapes in an open, extremely painterly style, in which the character of the paint-laden brushstrokes seem as important as the forms they define. The brushstrokes, in fact, often are the forms, with deceptively simple textured strokes that make up folds of cloth or the shapes of buildings.
In his landscapes and room interiors, Wu emphasizes the geometry of the forms and sets aside areas of color as distinct shapes, deliberately blurring or obscuring detail in favor of composition and color.
Even his drawings are “painterly”. There is a nice selection of drawings on his site, in which contrast and tone take on the role color plays in his paintings, edges are often blurred or smeared, and background tones roughed out in a manner evocative of brush strokes.
[Suggestion courtesy of Evan Waldinger]
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Ron Mueck

I don’t often devote a lot of attention to sculpture, but, as I noted in my recent post on Claes Oldenburg, one of the things art does at its finest is to shake up our preconceptions and show us the world with fresh eyes.Ron Mueck’s astonishing sculptures of ordinary, non-heroic people do just that. Usually unclothed, his figures are strikingly realistic in terms of the physical appearance of flesh, hair, and the textures and colors of human beings; right down to finger and toenails, blemishes and moles, goosebumps, individual head and body hairs inserted one by one, and the appearance of superficial veins beneath the skin.
Life-like replicas of human beings, no matter how realistic, would not in themselves necessarily alter our perceptions. Mueck does that by ingenious manipulation of scale. His spookily human sculptures are not life size. Some are gargantuan, others slightly larger than life, like his eight foot high standing pregnant woman, some are quite small and others are about half life-size, like his startling sculpture of his dead father, which helped establish his reputation as a gallery artist.
Mueck’s sculptures are made of fiberglass and silicone and crafted with techniques Mueck acquired in his previous career as a special effects artist, working on such films as Labyrinth.
You may have seen mention on the web of his earlier, somewhat grotesque, giant babies, but I think his more recent and sophisticated work is much more interesting.
In 2006 the National Gallery in London invited Mueck to become an artist in residence and create sculptures inspired by works in the museum’s collection of old masters. There is a half-hour documentary that gives a brief overview of Mueck and his work and follows him through the extensive and painstaking process of creating his sculpture of the standing pregnant woman.
Mueck starts with the traditional sculptor’s path of sketches, preliminary clay sculptures, a small but detailed maquette and then a full size, fully realized clay sculpture. It is in the casting in fiberglass and modeling in silicone that the process diverges from the traditional methods of casting in bronze.
Even in photographs, the realism and the element of scale make Mueck’s work striking. I haven’t had the chance to see his sculptures “in the flesh”, so to speak, but the effect must be startling.
Note: Some may consider his realistic depictions of naked humans NSFW.
[Suggestion courtesy of Kevin Sparkman]
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Laura Wilder

I first came across Laura Wilder’s unusual “house portraits” when doing research a year or so ago for a project I was working on with FusionSpark Media called the Florida-Friendly Interactive Yard.I was looking for reference on various styles of rendering houses and I was struck by Wilder’s approach.
Though she sometimes uses watercolor or pen and ink in a more conventional way, many of her images of houses are done in gouache in a simplified, graphic style similar in appearance to woodblock prints. The ability of gouache to lay down flat tones, which has made it a favorite of illustrators over the years, is perfect for this application.
Working from photographic reference, Wilder manages to abstract (in the original sense of that word) the essential shapes in an image into areas of graphic color that are similar to the flat areas inherent in the nature of block printing.
In some of the detail images in her section of portraits, she shows the reference photos next to the finished piece.
Her approach is very influenced by the graphic style and subject matter of the Arts and Crafts movement from the turn of the last century, and she also has galleries of posters and prints in that vein.
She pays particular attention to artisans and craftspeople, and seems to feel a closer kinship with them than with the traditional art world. One of her galleries is devoted to depictions of artisans at work.
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Granville Redmond

Granville Redmond was born in Philadelphia in the early 1870’s. He became deaf as the result of a bout of scarlet fever when he was around three, and his family moved to California, perhaps prompted by the opportunity afforded their son at the Berkeley School for the Deaf (now the California School for the Deaf). There his artistic inclinations were encouraged and he went on to study at the California School of Design in San Francisco.He won a scholarship from the California School of the Deaf that allowed him to travel to Paris and study at the renowned Academie Julian, and had a large canvas accepted at the prestigious Paris Salon.
Though he came to California and to painting by a different route, his influences and painting excursions around California put him in the company of the other turn of the century California plein air painters, who are often referred to as “California impressionists” (see my posts on Guy Rose and Hanson Puthuff).
Like some of the other California painters, Redmond encountered the state’s amazing broad valleys carpeted with great expanses of yellow and purple California poppies.
Redmond responded with large, vibrantly intense canvasses overflowing with unusual admixtures of hues. These are contrasted with his darker, moodier paintings of overcast or misty days and subdued nocturnes.
While living in Los Angeles Redmond encountered and became friends with Charlie Chaplin, who was fascinated with the expressiveness of American Sign Language, and asked Redmond to help him develop some of his silent movie pantomime techniques. Chaplin became a patron of Redmond, provided him with a studio on the movie lot while they were collaborating, collected his paintings and featured him in small parts in his movies; notably as the sculptor in City Lights.
Redmond’s work was compared to that of Monet and Pissarro, but, like most of the American painters influenced by French Impressionism, he went his own way.
There is a fairly extensive gallery of Redmond’s work on Steven Stern’s California Paintings gallery site. Unfortunately, navigation is by way of “too clever for their own good” ASP and JavaScript tricks, so I can’t give you a direct link. Go to this page and then choose Granville Redmond from the alphabetical list.
This is a commercial gallery and some of the images are marred with an unnecessarily obnoxious little “SOLD” banner that looks like it belongs on K-mart prints (and could be below the image rather than on top of it if they wanted to show respect for their artists), but the marking isn’t large and you can still get a good feeling for Redmond’s paintings.
There is also a commercial gallery called the Granville Redmond Gallery that deals in his paintings, but while the site has some bio information, it is lacking in images.
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Vincent Dutrait

French illustrator Vincent Dutrait is well known in France and Asia, particularly in fantasy and role playing gaming circles, but not very familiar here in the U.S.Dutrait was born in Provence and now lives and works in Seoul, South Korea. He cites inspiration from great American illustrators of the Brandywine school like Howard Pyle and N.C. Wyeth, as well as contemporary fantasy artists like Jean-Michel Nicollet, John Howe and Angus McBride.
His web site is in French, but it’s not difficult for non-French speakers to navigate. Most of the major sections have alternate names in English and the rest isn’t difficult to figure out.
The “News” section is essentially a blog, with articles arranged by date, on which he posts and discusses some of his most recent work. You can see a sort of overview of his work in the Essential section of the Galleries.
Thought he he best known for his illustrations for role playing games and fantasy, adventure and science fiction, some of his most interesting work in in the illustrated books section; with galleries of illustrations for titles like The Knights of the Round Table, Robinson Caruso, Treasure Island, Alexander the Great, and The Count of Monte Cristo, which show his interest in classic stories, historical illustration and the traditions of the illustrators of the Brandywine school.
The info section, like most of the site’s text content, is in French, but you can try a Google Translate version.
There is also a section of wallpapers where you can find nice high-resolution images that make it easier to see the detail in his work.
I don’t know much about Dutrait’s working methods, the promised page of tutorials has some image linking problems. Addendum: Vincent has written with direct links to the tutorials and the image links have been refreshed, there are tutorials on: Scanning large illustrations, Preparing the surface and Completing the image. The tutorials are nicely done, with enlarged details.
It looks to me like he starts with a pencil drawing and then applies color in a way that leaves some of the pencil to show through as line and texture. Addendum: on viewing the tutorials, I can see that he is working, in this case, in acrylic over an ink drawing, adding some textures and details with colored pencil.
Texture plays a prominent role in his style, and is one of the most appealing aspects of his work, with a frequent use of color hatching, somewhat similar to the way color is applied in egg tempera. A lot is accomplished with suggestions of texture, a few strategically places areas of alternate color within a larger area can give your eye the feeling of a much more complete texture.
If you compare some of his drawings to his finished work, you can see where I get my impression of his working process, which leaves much of his work with an appealing feeling of being somewhere between drawing and painting.
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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












