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Promoting some friends and some clients of my website design business
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Albrecht Altdorfer

Easter celebrates the Christian ideal of resurrection and rebirth; its setting in early Springtime (and association with fertility symbols like rabbits and eggs) carries forward the idea of new beginnings and the power of nature. It’s also the time of year associated with Cecil B. DeMille’s Hollywood spectacles, with their attendant special effects and thunderously dramatic skies.Put together the resurrection of Jesus, the power of nature and spectacularly dramatic skies and you get Albrecht Altdorfer’s The Resurrection of Christ.
Altdorfer was a Germain painter and printmaker who was more or less contemporary with Albrecht Durer. Though not Durer’s equal (who was?), Altdorfer was one of the most accomplished and influential painters of the time. Even though he painted mostly religious works, he was intensely interested in landscape, and is credited as the first major artist to bring landscape to the fore as a subject for painting in and of itself.
His fascination for landscape and the power of nature carried over into his religious paintings, where great attention is given to the natural settings for many religious events. In particular, I have always been struck by his dramatic skies, which would have done well as examples for ILM in their special effects skies for Close Encounters of the Third Kind and Raiders of the Lost Ark.
In his Resurrection of Christ the skies around Christ’s golden halo boil with brilliant reds and yellows, while above, framed by the dark arch of rock, the parting darkness is more suggestive of a storm-tossed sea than mere darkened clouds.
For another great Altdorfer special effects sky, along with a sweeping landscape and a cast of thousands, see his remarkable Battle of Alexander.
Altdorfer was also renowned as an engraver and creator of woodcuts, and was particularly noted for his miniature engravings, many of which were only an inch or two on a side.
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The $100,000 Animation Drawing Course

Wow! What an amazing treasure trove this is for anyone interested in animation or cartoon drawing.It should really be titled: “The $100,000 Animation Drawing Course for $8”. There is so much great stuff here that this should be a site of its own, but it’s actually part of the terrific ASIFA-Hollywood Animation Archive Project Blog. There are a multitude of resources here that will be the subjects of individual posts in the future, not the least of which are Preston Blair, Jon Kricfalusi and the Animation Archive itself, but I want to concentrate here on the “Drawing Course”, the premise of which is best summed up by Kricfalusi in his introduction:
“You can go to animation school, spend a $100,000 and not learn a damn thing about the basics of good animation drawing- OR you can buy a Preston Blair book for $8 and learn it all in a couple months. You pick.”
To back it up, Kricfalusi, the animator and instigator responsible for the brilliantly demented Ren and Stimpy cartoons, among other things, proceeds to take you through his course in 10 pages, with the assistance of supplied materials like pages from Preston Blair’s classic instruction book, his own model sheets for Ren and Stimpy, and model sheets from Disney, MGM and elsewhere. Remarkable.
Preston Blair was a brilliant animator for Disney (Fantasia, Pinocchio, Bambi) and MGM (on many Tex Avery classics) who wrote what is considered to be the definitive book on cartoon animation; originally released in its first edition as Advanced Animation; later revised and altered in content because of contractual disagreements and re-released as Preston Blair’s Animation; re-edited and changed in format with tall pages split in half and reorganized to make a horizontal format out of a vertical one (and unfortunately overexposed in repro, losing most of the halftones), and released as Cartoon Animation; and restored to vertical format (but still missing the original, contractually conflicted content) in two volumes as Cartooning: Animation 1 with Preston Blair and Cartooning: Animation 2 with Preston Blair. The second volume is unfortunately out of print and overpriced from many sellers, but you can pick up the horizontal format Cartoon Animation volume to make up the difference.
Despite any of my comments about the disparity between the original and revised volumes (which Mark Deckter makes clear on his blog here and here), this is still far and away the best book available on animation and drawing for cartoons, bar none. (Some younger artists starting on the path of cartoon animation may think of this as “old-fashioned-looking” and hence irrelevant. Oh how wrong you are. When you can draw as well as Preston Blair, come and tell me that.)
One of the great perks here is that the bulk of Preston Blair’s original book, the one with Disney and MGM characters in it, has been posted to the Archive in nice big scans with halftones intact (here and here, in addition to the links in the course – you’ll still want a printed copy to work from, though). This by itself is invaluable (this version of the book is long out of print and incredibly expensive as a rare book); combine it with Kricfalusi’s guidance and other resources and you have the makings of a real cartoon drawing and animation course.
You have to supply the impetus and determination to follow it, of course, but it really is amazing how much knowledge and expertise is here for the taking. (If you find it worthwhile, consider helping to support the Archive for making it available with a donation for a tiny fraction of its real value.)
Kricfalusi is carrying on with more drawing lessons on his own blog, all kinds of stuff, which is just that, all kinds of stuff about drawing, writing and animating cartoons.
You say you’re interested in animation and cartoon drawing? There’s enough here to keep you learning steadliy for a full school year or more. Or maybe you want to make your comic book drawing or cartoon illustration more solid, crisp and snappy? What are you waiting for? Pick up your pencil and draw!
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Sergei Bongart (update)

When I first wrote about Russian-American painter Sergei Bongart back in January of this year, I was disappointed with the small number of his works that could be seen online.Happily, Patricia Le Grand Bongart, Sergei Bongart’s wife and an accomplished artist herself, wrote at the time to tell us that there was both a web site and new book devoted to Sergei Bongart in progress.
She has just written again to tell us that the new web site is up, and the book on his painting method, Sergei Bongart …touched by the gods, is now available.
The interesting title of the book comes from a quote from Bongart: “There are two kinds of artists, the emotional painter and academician. The academician can paint into old age sitting on his stool licking his canvas until 98 years of age. The emotional artist burns himself up; he does not live long. The academician always creates something acceptable, boring, but acceptable. The emotional artist often misses, but when he hits it is breathtakingly beautiful,… touched by the gods!”
In addition to the new book, there is a video of Patricia Bongart demonstrating the Bongart Method and an audio CD of Sergei’s classroom lectures (apparently in a fairly heavy accent).
The new web site features a gallery with about 60 works, including some by Patricia Le Grand Bongart. Of the works by Sergei, there is a wonderful variety, including life drawings and travel sketches in addition to his brilliantly colored landscapes and still life paintings.
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Flight 4 preview

For those of you who think that “comics” = pointlessly endless stories of musclebound, spandex-clad goons, grimacing as if terminally constipated while bludgeoning one another senseless, I once again offer the antidote and alternative of the Flight anthologies of comics stories.I like to emphasize the release of these particular books, not only because they’re excellent, but because I think they offer those who have been put off by the harsh face presented by mainstream American comic books a potential path into the joys of an entire and often overlooked medium of expression.
I’ve mentioned previous Flight comics anthologies before, here and here, as well as in posts on some of the individual artists. The newest volume, Flight 4, is due to be released this summer.
Newsarama, the venerable online comics news source, has posted a 57-page preview of the upcoming volume. Click on the preview images and you’ll find images of pages from the book, reproduced large enough for you to get a nice idea of some of the wonderful variety of artistic styles and approaches to storytelling you can expect from this talented group of young artists.
From the look of the preview, Flight 4 promises to be the strongest volume yet.
(BTW, just for the record, I really like many of the pointlessly endless stories of musclebound, spandex-clad goons, grimacing as if terminally constipated while bludgeoning one another senseless in American mainstream comics. I just think it’s unfortunate that many people think that, and the watered down leftovers that pass for newspaper comics these days, are all that comics have to offer.)
Link via Comixpedia
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Alex Grey

There is a history of visionary or mystical devotional art, perhaps more prominently in Aisian cultures than in the West. Alex Grey has taken influences from some of those traditional art forms, including tantric art, mandalas, thangkas and other sources of imagery from India, China, Japan and Indonesia, and combined them with a very Western representation of the human body in anatomical detail, to suggest the intersection of the natural and spiritual worlds.Grey’s art has been called, visionary, spiritual and “psychedelic”, though he seems to prefer “transpersonal”. His intricate, brightly colored images often portray the human form as if the skin were transparent, showing the glowing lattices of the nervous and veinous system lying beneath, and sometimes the musculature, viscera or skeleton, as if trying to suggest a connection between our inner physical selves and our spiritual selves, and, through them, a connection to the cosmos as a whole in a visionary, spiritual sense.
The result is a wild amalgam of anatomical detail, brilliant, optically reinforced colors (lots of side-by side complementary colors for intensity), and the division of space into tessellations of op-art like patterns, visionary images like eyes and faces or sweeping radiant lines and lightning-like strokes of color suggestive of energy fields.
Figures are portrayed this way while praying, meditating, gazing at the stars, copulating, giving birth or even painting pictures.
Grey’s paintings, in oil and arcylic, are often quite large in size, which makes it all the more unfortunate that they are represented on the web in images too small to really get a good feeling for them. There are several collections of his work, including Transfigurations, Sacred Mirrors and Visions. He has also written a treatise on mysticism and art, The Mission of Art.
There is a video interview with Grey on YouTube in which you can see some of his work on gallery walls in its true scale.
The galleries on his site are divided into “Early Works”, “Sacred Mirrors” (a themed collection of several works, arranged in a special gallery called the Chapel of the Sacred Mirrors, which has it’s own site) and “Progress of the Soul”. I would start with the latter for an introduction to his work. (Sorry, I can’t give you direct links because the site is in frames.)
You will also find additional images in the Shop section of his site, particularly in the Posters and Prints sections.
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Steve Canyon original art

Most art done specifically for reproduction, whether it’s illustration, cartoons or comics, is drawn or painted at a different size than the printed piece, usually a bit larger. In the case of American comic books, it’s ordinarily about 1 1/2 times the printed size, but for newspaper strips it’s often 2 x the printed size (“2 up”) or larger.It’s difficult to get a feeling for this, or for the actual appearance of original comics art, unless you see the originals. Short of becoming a collector, or looking through the original art for sale at comics conventions, you can sometimes get to see original comics art posted on the web.
A rare opportunity has come up, though, to see scans of some originals of Milton Caniff’s great Steve Canyon strips, as opposed to the print versions as they appeared in preproduction. (See my recent post on Milton Caniff and the opportunity of seeing the reprinted strips posted online.)
John Ellis, who is working with Caniff’s family on a DVD release of the live action Steve Canyon TV show from the 50’s, came across an undiscovered treasure trove of originals in the family’s collection and, with their permission, has made scans of them available through the ASIFA-Hollywood Animation Archive Project (A-Haa! for short).
These strips were drawn quite large (bear in mind that newspaper strips used to be printed much larger than the postage-stamp sized blotches they’ve been reduced to today by newspaper editors determined to drive away readers), and the posted scans, though not life-sized, are large enough to get a feeling for what the original art looks like, complete with smudges, water splotches, rips and repairs.
The wonderful thing is that you can see bits of Caniff’s pencil line, corrections, and even the variations in the density of the blacks, giving you a peek at his creative process (it was all evened out by the photographic process for reproduction, in which shooting in high-contrast made the dark grays black and the light pencil lines disappear).
Even better, you can see close up, in a way impossible in the small reproductions found in printed comic strip collections, the marvelous quality of his fluid and precise brush lines. Though most comics artists use pens as their primary tool for drawing in ink, many use a sable watercolor brush with a fine point (often a #2 or #3 round) as their drawing tool, in addition to using them to fill in area of black.
The use of a brush, even more than the most flexible pen, allows comics artists and cartoonists to achieve a remarkable variation in line width within a single stroke. Variation in line is one of the characteristics that can give good comics drawing some of its liveliness and visual interest. Caniff was a master of the brush and ink drawing method and it lent itself exceptionally well to his beautiful use of chiaroscuro.
Click on the smaller images in the ASIFA blog post to see the strips close up in all their rough and tumble glory.
Link via Boing Boing
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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











