Lines and Colors art blog
  • Illustrators Magazine Issue Eleven

    Illustrators Magazine Issue Eleven; Donato Giancola, Tomer Hanuka, Kames McConnell, Mike Terry, Freya Hartas, Gustave Dore
    Illustrators is a quarterly magazine published in the UK, that I previously wrote about when they published their first issue in 2013.

    Calling Illustrators a “magazine” is a bit misleading, as it’s a 96 page perfect bound format that feels more like a large trade paperback.

    I was delighted to receive a review copy of the current issue, number 11 (the contents for issue 12 have just been announced). Like most of their issues, the format is two lead articles of considerable length showcasing the work of contemporary illustrators followed by an in-depth article on an illustrator from history, and shorter articles on additional contemporary illustrators.

    Issue #11 features Donato Giancola, one of the finest contemporary illustrators working in the field of fantastic art. Giancola is one of the foremost illustrators carrying forward the style and techniques of classical art, putting them in service of modern, thought provoking fantasy and speculative fiction themes.

    For my money, the issue is worth it’s $29.00 US price for the 30 pages of his work alone, including sketches and in-progress versions of some of his pieces.

    As someone who has been perfectly comfortable with both creating and appreciating art on the computer for over 20 years, I still find reproductions of artwork in high-quality print to be a different and very worthwhile experience. Seeing this much of Giancola’s work (scanned from the original artwork) collected in print is a treat.

    The second major article in this issue is 25 pages devoted to the wonderfully expressive line-and color style illustrations of Tomer Hanuka.

    In addition, there are 17 pages on the classic mid-20th century pulp illustrations of James McConnell, and shorter articles on caricaturist Mike Terry and the illustrations of Freya Hartas, as well as the usual book reviews and letters.

    Unfortunately, the Illustrators website does not do justice to the presentation of the publication. For reasons that continue to bewilder me, the pages devoted to individual issues show no images but the cover, and don’t overtly mention that a preview of each issue is available.

    Previews actually are available, accessed through tiny icons labeled “See what you are missing!” instead of a big headline of “View a preview of this issue” or something similar.

    Once in the preview, however, you can zoom or enlarge to full screen and get a decent glimpse of some of the beautiful artwork in each issue.

    You can order individual issues of Illustrators through the website, or purchase a four-issue subscription which includes the online editions as well as the print publication.



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  • Eye Candy for Today: Michele Pace del Campidoglio still life

    Still Life with Melons, Peaches, Figs, and Grapes, Michele Pace del Campidoglio, 17th century
    Still Life with Melons, Peaches, Figs, and Grapes; Michele Pace del Campidoglio

    Link is to zoomable version on Google art Project; downloadable file on Wikimedia Commons; original is in the Museum of Fine Arts, Houston.

    To me, this wonderful 17th century still life by the Italian painter Michele Pace del Campidoglio has a remarkably contemporary feeling — as if painted yesterday by a modern painter steeped in Baroque tradition.



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  • Heinrich Böhmer

    Heinrich Bohmer, 19th century German landscape painter
    Heinrich Böhmer was a German landscape painter active in the late 19th and early 20th centuries.

    I can find little information about him and only a few sources of images, but those I’ve encountered are wonderful.

    Böhmer’s muted, subtle forest interiors, streams and pathways put me in mind of Peder Mørk Mønsted, though I don’t know if there was any direct influence.



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  • Eye Candy For Today: Gilbert Stuart portraits

    Portraits of Matilda Stoughton de Jaudenes, and Josef de Jaudenes y Nebot, by Gilbert Stuart
    Portraits of Matilda Stoughton de Jaudenes, and Josef de Jaudenes y Nebot, by Gilbert Stuart

    Both paintings are in the Metropolitan Museum of Art. Use the download or zoom icons under the images on the museum’s pages.

    18th century painter Gilbert Stuart is an artist whose historical stature suffers from “greatest hits” syndrome. His portraits of early U.S. presidents, most famously his iconic portrayals of George Washington, overshadow his accomplishments as a painter and portraitist.

    In this double portrait, Stuart pulls out the stops to portray a Spanish diplomat and his sixteen-year-old American bride at the time of their wedding, decked out in the elaborate finery customary in Spain at the time.

    Stuart brought a European sensibility to his work — learned during his time in England as a student of Benjamin West — and was the most highly regarded portrait painter in America.

    His command of the brush is evident in his confident handling of fabric and the decorative elements of clothing; the economical notation of hair, lace and brocade; and the lively, glowing visages of his young subjects.



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  • Kirsten Zirngibl

    Kirsten Zirngibl, concept artist and illustrator
    Kirsten Zirngibl is a concept artist and illustrator based in San Diego.

    Zirngibl’s subjects can involve both technological and biological forms, in either case often intricately rendered. She often makes interesting use of light sources, contrasting bright sources with darkly portrayed environments that allow the viewer to project their imagination into them.

    Her website, ArtStation, Behance, and deviantART portfolios feature both her professional work and personal projects, including some location sketches in either digital or traditional media, like the digital poinsettia still life shown above, second from bottom.



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  • Simon Addyman

    Simon Addyman, landscape paintings
    Originally from England, Simon Addyman is a landscape painter now living and working in California.

    Addyman walks a line between suggestion and representation, and apparently feels quite comfortable on either side.

    His textural, often brusquely applied brush marks fade and weave into one another, creating movement and coalescing into the forms of his subjects as if they were gradually coming into focus.

    Addyman uses lost and found edges to great effect — both in the sense of blurred borders and in the sense of close value relationships — allowing the viewers eye to search a bit before being unerringly guided to his center of interest.

    He works in plein air for small sketches, from which he creates his larger studio landscapes.



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Carlson's Guide to Landscape Painting
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Carlson's Guide to Landscape Painting
Carlson’s Guide to Landscape Painting

Landscape Painting

Drawing and Sketching in Pencil
Drawing and Sketching in Pencil

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Successful Drawing

Bridgman's Complete Guide to Drawing from Life
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Nature Drawing: A Tool for Learning
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Dinotopia, a Land Apart from Time
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