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Promoting some friends and some clients of my website design business
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Scott McCloud’s Info-comic for Google Chrome

In his role as one of the main analysts and thinkers on the subject of the comics art form, and the author of several widely acclaimed books on the subject in which he discusses the medium in the medium, presenting his thoughts in the form of graphic narrative; Scott McCloud has in the process become the the foremost proponent of an unsung aspect of the visual storytelling medium — its astonishing ability top convey information as well as tell a story.The comics medium has been utilized for informational purposes for a long time, notably by the government, military and in industrial applications, where the combination of images and words can convey information more clearly, and often more rapidly, than words alone.
Rarely, if ever, has it been used at the level exhibited in McCloud’s books, Understanding Comics, Reinventing Comics and Making Comics. There he utilizes comics as an informational medium with a grace, artfulness and intelligently structured approach to the graphic narrative that brings it into a different category, more akin to first rate essay writers than the prosaic uses of comics for instruction that preceded him (there are some exceptions, of course, like Larry Gornick’s Cartoon History of the Universe, but McCloud is working at a different level). See my previous post on Making Comics.
Google has now put McCloud’s expositional graphic narrative skills to use to introduce and explain the concepts behind their new open source web browser, Google Chrome, in the form of a 38 page comic book.
Presumably there are print versions of this, but you can read it online from Google’s site (and also on Blogoscoped, where it appears with a numbered page index). My one disappointment is that McCloud has conceded to the demands of print format and arranged the pages vertically, instead of fitting them to the horizontal format of the omputer screen, which is where I will wager the majority of people will wind up reading this, even though it was intended for print.
There is also a brief article on McCloud’s site about the project.
Google, apparently feeling the need to rebuff any attempts by Microsoft to use their browser market dominance to lead web users away from Google to their own search engine, has jumped into the open source browser fray, occupied by Firefox and others, with a new offering. (“Open source” means a computer application in which the underlying code is not proprietary, and can be worked on by anyone with the skill and interest to contribute, and is not “owned” in the same sense as a commercial product.)
They have gone to lengths to explain what they are doing, and how, and what they are doing differently. Normally these concepts are pretty abstract, and not that easy for an outsider to grasp; much like the concepts behind, say, graphic narrative, and how it is both similar and different from other mediums.
So Scott McCloud was an obvious and superb choice for the task. Even if you’re not particularly interested in why or how Google’s new browser works, it’s worth checking out McCloud’s graphic exposition, simply to see how it works. Look at the way he has seamlessly blended images and words to convey these abstract and sometimes technical concepts. It’s so smooth that, like his books, you have to intentionally step back to notice the process.
Like most artful of writing, it doesn’t intrude on your conscious impression of the work, but carries you along without your awareness. You almost learn in spite of yourself, a fascinating example of the power of words and pictures working together to tell a story, and/or inform and educate.
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Art and the River
In the late 19th and early 20th Century, New York and Boston were major centers of American Impressionism. These were American artists who had traveled to Europe and encountered the French Impressionists and their daring new approach to painting, or had been impressed by their work in exhibits mounted in the U.S., and incorporated some of their techniques into heir own uniquely American approach to painting.This influence was less evident here in Philadelphia, the third major East Coast art center of the time, perhaps because of the traditional values emphasized by the dominant figure of Thomas Eakins and his followers at the Pennsylvania Academy of the Fine Arts.
Instead, New Hope, Pennsylvania, a small town in nearby Bucks County, became the focal point for the group painters who are now known as the Pennsylvania Impressionists, as I mentioned in my article on New Hope, PA and Lambertville, NJ from last year.
For these painters, New Hope and the surrounding area became their own Giverny, their artist colony on the river, akin to the American Impressionist centers in Cos Cobb and Old Lyme Connecticut (see my post on Impressionist Giverny: American Painters in France, 1885-1915).
The James A. Michener Art Museum, in Doylestown, which has one of the most important collections of Pennsylvania Impressionist works, has mounted an exhibit in their smaller satellite museum in New Hope called Art and the River.
The exhibit focuses on interpretations of the Delaware River and related waterways in the area of the New Hope colony and features works from a number of the major figures of Pennsylvania Impressionism, including Daniel Garber, Edward Redfield, William Lathrop, Harry Leith-Ross, George Sotter and Fern Coppedge, as well as some less well known artists like Kenneth Newmaker (see my previous posts about Daniel Garber and Fern Coppedge).
The exhibit also features work from the New Hope modernist painters from the 1930’s and a selection of contemporary Bucks County artists like Paul Matthews, Daniel Anthonisen, Jan Lipes and Robert Beck and several others.
The museum has a page and press release about the exhibit, but they contain few images. The Michener does have a long list of articles about Bucks County Artists, with four of five images for each. Unfortunately, these are rather small. You can supplement them with somewhat larger images from commercial print supplier Encore Editions, which has a fairly large catalog of Pennsylvania Impressionists. I’ve linked to a few highlights below, and I plan to feature many of these artists in more detail in future posts.
I’ll also mention an excellent and beautiful book, Pennsylvania Impressionism, edited by Brian H. Peterson, who is Senior Curator at the Michener. There is also a large and beautiful, though perhaps less scholarly definitive book, New Hope for American Art, published by Jim’s of Lambertville, a local gallery that specializes in Pennsylvania Impressionist works, and written by the gallery’s owner, Jim Alterman. The gallery is a co-sponsor of the Art and the River exhibit. I had a chance to stop by the gallery on this visit, and was duly impressed with their selection of Pennsylvania Impressionist artists.
Though the exhibit is not large, it’s extensive enough to give a nice cross section of some of the Pennsylvania Impressionists, as well as some contemporary painters who have found a connection, and source of inspiration, in the same place on the river.
Art and the River at James A. Michener Art Museum runs until until October 5, 2008.
(Image above: Edward Redfield, Harry Leith-Ross, Daniel Garber, Kenneth Newmaker)
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Junko Ono Rothwell

August and September are times when many people think of travel, and travel makes me think of travel sketches.There is a particular pleasure in travel sketches; they carry a personal view and flavor quite unlike travel photographs, in that the artist is showing you their vision and feeling for the place and time in addition to a representation of its appearance.
Junko Ono Rothwell, an artist based in Georgia in the Southeastern U.S. has posted a number of her travel sketches in watercolor and pastel on her web site. These are from her visits to Italy (above, left), France (above, right) and Ireland.
Her sketches bring to bear her experience in painting landscapes in both oil and pastel. Her landscapes here in the U.S. often focus on marshlands and small streams, both Groegia and on the mid-Atlantic coast.
On her site you will also find her nicely realized still life paintings, also in both pastel and oil, and her watercolor floral studies. There is also a selection of figure work.
Her pastel renderings make good use of the textural characteristics of the medium, which lies somewhere between painting and drawing, and she brings some of that surface texture into her oil painting to very nice effect, with textural paint strokes and a wonderful use of broken color.
Rothwell studied in Japan at Okayama University and in the U.S. at Cornell. Her work has been in exhibitions and collections in both the U.S. and Japan and has been featured in a number of books and magazine articles on pastel, floral painting, and landscape.
Rothwell’s landscapes are done en plein air (see my recent post on pochade boxes), catching the fleeting atmospherics and light only available to the painter’s eye on location, just as she captures the immediate feeling of of a foreign place and time in her travel sketches.
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Adam Brockbank

I can tell you little about Adam Brockbank, except that he is a film industry concept and storyboard artist, and quite a good one.His site doesn’t include any biographical information, but does, fortunately, showcase a number of his terrific concept paintings and drawings for movies like Harry Potter and the Order of the Phoenix, Harry Potter and the Goblet of Fire, Harry Potter and the Prisoner of Azkaban (image above), Harry Potter and the Chamber of Secrets, Alexander, Troy, Spiderman 2, Tomb Raider, Tomb Raider 2, Fire from Heaven, X-Men and Sleepy Hollow.
There is also a selection of storyboard work from films and television productions like Harry Potter and the Philosophers Stone, Dinotopia, Alice in Wonderland, Lost in Space and The Borrowers.
You can see a more complete list on the IMDB site.
His storyboards are clear and crisp, with just enough tone work to suggest lighting and atmosphere. His concept art ranges from briefly notated sketches to fully rendered paintings of complex and large scale scenes. He seems particularly adept at portraying the cities and scenes of ancient civilizations as depicted in movies like Alexander, Troy and Fire from Heaven; combining a National Geographic feeling of historical reconstruction with a cinematic flair for drama.
In between his lightly rendered and highly rendered approaches are paintings that frequently look more rendered than they are, in which his artful economy of notation conveys a great deal of atmosphere and mood in the choice of large areas of color balanced with smaller passages of detail.
There is also no indication of medium or technique on the site, but it looks like he paints digitally, though his work can have a feeling of traditional painterly materials.
I can’t give you direct links to sections because the site is in Flash, but be sure to view his wonderfully realized historically themed paintings for Fire from Heaven.
Addendum: Adam was kind enough to write and let us know that he has been working on a new comic called Mezolith, written by Ben Haggarty, that debuts next week in issue 15 of The DFC, a UK kids comics anthology. You can see a preview here.
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David Jon Kassan

Brooklyn based artist David Jon Kassan was born in Arkansas and studied in Philadelphia, New York and Florence, Italy.He has lectured, taught and given workshops at numerous universities and art centers, including the Rochester Institute of Technology, Western Illinois University, Syracuse University, National Academy School of Fine Art, the University of Alabama, the National Academy of Design and the Salmagundi Center of American Art.
On his web site you will find examples of his striking realist portrait and figurative paintings, in which he often contrasts the colors and textures of his subjects with the rough textures of age-worn urban interiors. He seems so fascinated with the latter that he actually does preparatory studies of wall sections, investigating the textures of aging plaster, exposed lath and peeling paint.
His real fascination, though, is portraiture, and specifically, the anatomy underlying the portrait and figure. There is a time-lapse video on his site of a portrait demonstration at the Salmagundi Club in New York, three hours condensed into 8 minutes (image above, lower right), in which you can see the emphasis he places on the underlying geometry of the face.
There is also a PDF booklet available for a modest fee, of An Artist’s Guide to Portrait Anatomicae, originally prepared for his students.
There is a selection of his drawings on the site. Though they are brought to a fairly high state of rendering, they are largely anatomical studies.
Kassan also has a blog, in which you can see some works in progress, studio and demonstration photos and a video showing his paintings on display at the L.A. Art Show.
His paintings show the kind of naturalistic fidelity that only comes from careful and incisive observation, combined with a solid grounding in traditional technique and anatomical study.
His palette is intentionally subdued, as are his compositions, so that the highest chroma passages are often in the warm skin tones in faces where small blood vessels run closest to the surface.
[Link courtesy of Michael Connors]
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Richard Cowdrey

Richard Cowdrey is an Ohio based illustrator with a particular affinity for animals. He has illustrated numerous books for children and teens including the popular Bad Dog, Marley and its follow-up A Very Marley Christmas, as well as the NYT Bestselling series Guardians of Ga’hoole.In addition to owls and dogs, other animals feature prominently in his editorial illustration, all rendered with a devoted attention to detail and texture, particularly evident in his handling of the textures of furred animals. You can see that to advantage on his web site in his gallery of illustrations for Calendars and Cards and his selection of Prints.
Cowdrey’s clients include Macmillan McGraw Hill, Workman, Harper Collins and Bantam Books, as well as other commercial and institutional clients.
In addition to his own site, there is an extensive portfolio of his work, and perhaps a wider range of his subject matter, on the Shannon Associates site, which also has larger images.
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Charley’s Picks
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John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective
Charley’s Picks
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(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











