Lines and Colors art blog
  • Gamma Ray Studios

    James Clyne and Feng Zhu
    One of the fascinating things about concept art is the tension between restraint and imagination. On one hand, concept art is restrained by the set demands of the project, usually a movie or high end game for which specific scenes, settings, costumes, props and other elements must be designed. Within those restrictions, however, the goal is to be as imaginative as possible, all in search of the dazzling images and settings in the finished product that will help bring jaded audiences into the the theaters or game stores in search of a new visual high.

    The best concept artists manage to be very imaginative in spite of the “creativity on demand” nature of their field, and occasionally step outside the restrictions to do personal work, like the pieces above from veteran concept artists James Clyne (left) and Feng Zhu (right).

    I profiled James Clyne last September, and Feng Zhu in October. Both are in the top echelon of movie and gaming concept art and art direction. I just recently learned that they partnered last fall to form a conceptual design studio called Gamma Ray Studios.

    Their combined histories have left them with an impressive client list, and a wonderfully imaginative body of work, some of which can be seen in the Gamma Ray Studios Gallery [Note: not anymore, see update below]. The amount of images there is limited, but both artists still maintain their individual portfolio sites, with more extensive galleries, information and tutorials. In addition, Feng Zhu has a new venture and website called SketchGirls.

    In both cases, a walk through their galleries will show you something about high end concept art. The “restraint” aspect of the project requirements won’t be visible, but the “imagination” aspect certainly will.

    Update: Gamma Ray Studios is no more, and the domain has been grabbed up by spammers. I’ve left the article in place but removed links to the domain. See the individual sites of James Clyne and Feng Zhu, below. – Charley 5/31/09



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  • Campaigntoons

    CampaigntoonsBy now we’re all acculturated to being sold things by way of animated cartoons.

    They start us early, dazzling our just-out-of-babyhood eyes with bouncing, sparkling bowls of chocolate-frosted, sugar-coated imitation food-like substances that are “part of this nutritious breakfast”, and move on to toys and games and even later to cars, insurance and everything else.

    With their bright colors, simplified forms and magical moving drawings, animated cartoons are just so gosh darned appealing.

    Get ready for a new wave of being sold by way of cartoon animation, this time being sold a political choice.

    Most of you are probably familiar with the Jib-Jab cartoons, a series of modestly amusing and not particularly well done animated web cartoons that lampooned political figures. The key thing about them is that they became amazingly popular across the web by word of mouth (or, more accurately, word of email), a phenomenon that has become marked by a buzzword dear to the hearts of marketers, “viral marketing”.

    The idea behind viral marketing is that, instead of spending millions to buy a few seconds of air time to try to shove your message down the throats of a resistant and TiVo-armed populace, you spend much less on an advertising vehicle that is clever and appealing enough for people to willingly spread across the internet themselves, via email, blogs, web site links, etc.

    You and I are both participating in this process at the moment.

    I’m telling you about, and providing a link to, an animated cartoon that is intentional viral marketing for a political campaign.

    I find it interesting enough to pass along, partly because it’s well-done and partly because it represents the tip of a trend that will grow to be overwhelmingly obvious in coming months and years.

    The ad is part of the govenor’s race in Nevada, where candidate Jim Gibson is using the cartoon to accuse his opponent Dina Titus of taking money from Enron without acknowledging its disposition. To do this he enlisted the services of the web animation studio Slamtoons, which has changed its name to Campaigntoons, to create an animated viral marketing ad that portrays Titus as a Jedi being corrupted by the dark side of the force, in the form a $2000 contribution from The Emperor (who one assumes is Kenneth lay in a hooded cloak).

    The cartoon is actually nicely done, with nicely stylized characters, good backgrounds and good use of simple color and shading. The animation is minimal, of course, as in almost all web cartoons, but it’s effectively used.

    I think we’ll see a lot more from this group (the cartoon also acts as viral marketing for them), and from many other web-based animators of varying degrees of ability, as the election approaches and the campaign funds start to flow. So pull up a bowl of chocolate-frosted, sugar-coated imitation food-like substance and enjoy the show.

    Link via Wired.

     


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  • Karen Hollingsworth

    Karen Hollingsworth
    Academic art students have a long tradition of starting their training drawing simple-but complex subjects like drapery (often a bed sheet arranged over an object like a chair) or paper bags that have been folded or crumpled and then unfolded. These are easy to come by subjects that both sit still and have lots of shapes and variations in tone to challenge the young artist’s eye and hand.

    From there the ernest young art students would move to cast drawing, using plaster casts of classical sculpture as a subject, and finally move to drawing the figure from life, rarely looking back at the earlier training subjects they have “graduated” from.

    Atlanta based artist Karen Hollingsworth takes these humble subjects of sheets and paper bags and raises them to high forms of interior painting and still life.

    Her paintings of interiors with sheet covered chairs, usually arranged in front of windows that are spilling light over them and behind them, making the sheets glowingly translucent, are luminous wonderlands of light and shadow. Her paintings of paper shopping bags, which I just love, are feats of transmogrification. In her hands, the humble paper objects come alive as if flowers of a mythical bag tree.

    Her oils of unmade beds, their sheets rippled with valleys and crests of light and shadow rendered with subtle variations in color, are landscapes more than interiors, and her still life paintings of fruit and vegetables (occasionally arranged with drapery and, yes, paper bags) are remarkable excursions into light and dark, which seem to chase each other around the forms.

    And, as if this weren’t enough, Hollingsworth is an accomplished portrait artist. Her portrait paintings are beautiful and marvelously done, but my one thought is how wonderful it would be if she brought to them more of that same sensibility of light cascading over forms that she lavishes on her other subjects (a very difficult challenge, I know, but wow).

    Hollingsworth is married to artist Neil Hollingsworth, also a wonderful painter, who is sure to be the topic of a future post.

    Now, if you’ll excuse me, I’m going to go get my sketchbook and draw some paper bags.

    Link courtesy of Karin Jurick.



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  • tokyoplastic


    I wanted to recommend this site to you because of its terrible navigation system (he said, grinning).

    If you actually want to find something, like a simple “About Us” or “Press” page, the navigation on tokyoplastic is abysmal. If, on the other hand, you want to be amused and delighted by series of clever and superbly executed animations, that selfsame navigation is a treat.

    On the “this is no way to navigate a web site” downside, you have to hunt around to find the site entrance (a graphic of some Japanese characters below a tiny gray “enter tokyoplastic”, on a home page with too many things on it), which opens the site proper in a popup. Within that you have to guess about enigmatic navigation choices (“Do I click on something? Are there words here somewhere?”) and work your way through an animation series just to get to the actual navigation choices. Then you have to guess again where to rollover and click on the main navigation image (a big tentacled plant/animal/monster thingie) and guess yet again about enigmatic section names like “workshop”, “factory” and “drummachine”, which are meaningless until you’ve actually gone to those sections at least once to see what the term means. Once you select one of those you have to wait through another animated sequence, which will often pause mid-sequence and require user input to continue, before actually reaching a site section, which is again likely to be enigmatic in content. There’s no way to navigate through this site without having looked around already.

    But, of course, looking around is what the tokyoplastic site is all about. tokyoplastic is the site of a UK animation studio that does stylized, cartoonlike, elegant and superfluid CGI/Flash animation. (You can find out more on the Picasso Pictures site.) If you’re wandering around the tokyoplastic site, checking things out instead of actually trying to find something, they will tickle you brain and optic nerve with wonderfully silly, imaginative and amusing animated sequences. You may want to turn off iTunes long enough to listen to their excellent use of sound (particularly drum sounds), beautifully integrated with the animated sequences.

    In the “workshop” section (upper left “flytrap” on the plant/animal/monster thingie), you’ll find some examples of their work for clients like MTV and Mitsubishi. The “drummachine” section features that wonderful use of sounds, and you’ll be rewarded with other fun items as you explore. Back on the home page (under the pop-up, remember?), the image of the er,.. dog thingie, is linked to a recently added animation that pops up in a separate window. There is also a newsbox on the home page in a small scrolling inline frame.

    Oh, yes, the About Us and Press sections do exist, they’re accessed by clicking on the flower labeled “bits and pieces” (lower right tentacle of the plant/animal/monster thingie), which also gives you access to a bunch of other sections including the whole of their previous web site with lots of other animations.

    Enjoy.



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  • Samuel Palmer

    Samuel Palmer
    Artistic approaches to landscape can be as fascinatingly varied as landscape itself. The variety of style, material, color, medium and technique is amazing. Samuel Palmer’s landscape paintings in oil, watercolor, gouache, ink and sepia wash often have a unique character that feels like fantasy or children’s book illustration, particularly work from a period when he was heavily influenced by the Romantic artist/poet William Blake.

    Palmer met Blake through English landscape artist John Linnell, who was something of a mentor to him and whose daughter, Hannah, became Palmer’s wife. Palmer’s own family was less than an asset. His father had an unfavorable reputation and a poor economic situation, putting pressure on his sons to restore the family name. One of Palmer’s brothers, finding himself without funds while Palmer was away on his two-year honeymoon/painting expedition to Italy, pawned most of Palmer’s early work and Palmer had to pay out a great deal to get it back. Palmer’s son, Herbert Palmer, apparently burned large amounts of his father’s work after his death, ostensibly so it would not be disrespected (and you think you have family troubles as an artist).

    Palmer never saw great commercial success as a painter and most of his income came from teaching drawing, at which he was apparently quite good. Palmer’s work fell into semi-obscurity for many years and has only recently been re-discovered by the art world.

    In 2005 the British Museum and the Metropolitan Museum of Art cooperated to create the first major retrospective exhibition of Palmer’s work, Samuel Palmer: vision and landscape, which helped re-establish him as one of the most important landscape painters of his era. It ran at the British Museum from October 2005 to January of this year and is currently running at the Met until May 29, 2006. The British Museum site still has the section devoted to the exhibition online here. The Met’s section is here. Both have examples of Palmer’s work in several mediums.

    “Success” is almost as subjective a concept as “style”. Midway through his career, Samuel Palmer consciously changed his style to a more traditional landscape approach in a failed attempt to make his work more salable, but it is for his visionary Romantic work that he is remembered and revered. He may not have found any greater financial success had he remained true to his original vision, but would he perhaps have found a greater level of personal success? All artists have to find their own meaning for that word, but I think Palmer’s success was in creating unique landscape images that we still find engaging and visually rewarding after 200 years.


    Samuel Palmer at the Metropolitan Museum of Art
    Samuel Palmer at the British Museum
    Samuel Palmer at the Tate Gallery
    Samuel Palmer at the Art Renewal Center
    Samuel Palmer at the CGFA
    Samuel Palmer at the Web Gallery of Art
    Samuel Palmer at the Ciudad de la Pintura (in Spanish, Google translate)

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  • Enrico Casarosa

    Enrico Casarosa
    As artists there are those of us who wear many hats (no, no, I mean other than at those weird loft parties…), taking on several styles or different types of visual art for different reasons; sometimes out of necessity to both make a living and pursue personal interests, sometimes out of a desire to be versatile and sometimes just out of a love for working and experimenting with many different types of art.

    I suspect that Enrico Casarosa works in his many artistic areas for the latter reason, just because he enjoys and appreciates them and wants very much to enjoy all that they have to offer. Professionally, Casarosa is a storyboard artist for Pixar. He is also a character designer, comics artist, designer, illustrator, blogger and inveterate sketcher.

    Among his other accomplishments, Casarosa started and still oversees the SketchCrawl events, outdoor group drawing “expeditions” held in various cities around the world (some history here and here). The next Worldwide SketchCrawl is this Saturday, April 22, 2006. A discussion board of the arrangements being made in various cities can be found here.

    I briefly profiled Casarosa in my first mention of Sketchcrawl last summer. He has several web sites related to his many pursuits. Enricocasarosa.com serves as a central hub and features information about his publications, including SketchCrawling, containing some of his Sketchcrawl sketches and comics related to the events (photos here), and Fragments Intermezzo, with charcoal figure drawings, paintings and sketches.

    The main site also talks about his gallery shows, one of which, Three Trees make a Forest at Gallery Nucleus in LA last November, he shared with Ronnie Del Carmen and the wonderful Tadahiro Uesugi (see my post about Tadahiro Uesugi from last fall).

    There is a Portfolio page on Casarosa’s main site with links to many of his projects, as well as a resume and bio, but some of the material may be out of date.

    It’s a little disconcerting bouncing around between Casarosa’s sites, because they are many and not always up to date or linked in a consistent fasion. The most recent information usually surfaces on Enrico’s blog, which features photos, ramblings, discussions of art materials and pointers to other sites and artists as well as news and postings of Casarosa’s own work (like the illustration for a wine label, above, left).

    Occasionally you’ll find treasures like his online mini-comic review of Canned Coffee (above, right). Casarosa has also posted a complete online comic called Haiku 5-7-5, as well as online previews for his print comic MIA. Casarosa has also participated in the excellent Flight comics anthologies (the new one of which is due this June).



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Vasari Handcraftes artist's oil colors

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
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics

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
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics