Source: http://julieoakley.blogspot.com/2011/10/tate-st-ives-from-beach.html
Source: http://www.linesandcolors.com/2011/12/10/comic-crits-john-bonner/
Source: http://drawsketch.about.com/b/2011/12/20/why-make-art.htm
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Source: http://sketchoftheday.blogspot.com/2011/09/rohmans_30.html
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Source: http://sketchoftheday.blogspot.com/2011/11/dracular.html
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Source: http://drawsketch.about.com/b/2011/12/02/figure-drawings-by-ed-hall.htm
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Source: http://theartblog.org/2011/12/scot-borofsky-from-street-art-to-gallery-an-interview/
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Source: http://sketchoftheday.blogspot.com/2011/12/ross_10.html
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Source: http://sketchoftheday.blogspot.com/2011/10/fishing-fish_31.html
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Some lovely paintings of birds from a set of books from 1806 by by Fran�ois Levaillant and Jacques Barraband. (via BibliOdyssey: Birds of Paradise)
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�Why There Isn?t a Spumco Coffeetable Book: My Personal Story�: Animation historian and writer Amid Amidi gives us his account on Cartoon Brew of why the long-overdue John Kricfalusi/Spumco coffeetable book may never be released.
Source: http://blog.drawn.ca/post/14267146795
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With kind respects to students who contact freelancers about doing interviews (always around this time of year I?ve noticed), I shall be redirecting you to this post by�Marian Bantjes�from now on.�
I?ve always felt these ?interview assignments? bordered on the lazy (on both the teacher?s part as well as the student), if not the utterly pointless. Oh sure, it?s nice to be asked (unless, like one student said, you bulk-emailed dozens of artists knowing at least one would be polite enough to get back to you; if that?s you, you are a discredit to us all), but it really seems like a case of the dog licking its own balls: Just because you can, doesn?t mean you have to. It?s not remotely difficult to get in touch with anyone anymore. In fact, it?s so damn easy it?s usually annoying.�
To those who are teaching, I implore you to come up with better assignments. I?m sure you have a big workload, and I really respect you for doing this work. But when I was a student, I?d have considered such an assignment to be pointless busy-work. You?re a creative person, you can surely be more creative than that.
(via luclatulippe)
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| Nicole at Mille Fleurs 3, acrylic painting on canvas, 48 x 30, 2010. | In the Afternoon Light, acrylic painting on canvas, 48 x 30, 2011. | ||
Contrast is the difference between light and dark values. The human eye is able to see clearly across a contrast ratio of about 15,000 to 1 (the brightest area 15,000 times brighter than the darkest area). Paintings, by contrast, have a maximum contrast ratio said to be at most 100 to 1.
This presents a problem for painters—how to achieve the impression of natural contrasts without being able to show them directly. This problem is most urgent for painters who depict scenes lit by direct sunlight, where the brightest highlights and the darkest shadows share a composition. There is no perfect solution to this problem, but painters who invest in contrast expend a great deal of thought and effort in understanding visual cues that are interpreted unconsciously as contrast.
Victoria Selbach, a New York painter, makes lush paintings of nudes lit by sunlight. To present convincing contrasts in her acrylic paintings, she uses two related painting techniques.
In Nicole at Mille Fleurs 3, most of the figure is in direct sunlight. Selbach paints a full range of values in the lit areas, and lets the cast shadows drop to black. The eye would naturally be able to see detail in the cast shadows, but by painting them black, Victoria subliminally tells the brain, "this region is too dark to see." The brain then identifies these shadows as about 15,000 times darker than the highlights, heightening the implied contrast with the lit areas, which are nowhere near 15,000 times brighter than the blacks.
In her painting In the Afternoon Light, Ms. Selbach uses her other contrast-enhancing technique. Most of the figure is in shadow. So if Selbach had followed her "shadows = black" rule, the composition wouldn't have worked. Instead, she renders a large range of values in the shadows, and lets the lights go to white. Again, she gives the brain a strong cue for a full 15,000 to 1 contrast ratio, helping to work around the contrast limits of acrylic paint.
Notice that in the first painting, the technique gives a sense of warm, rich light and burnt shadow. In the second painting, there is a sense of cool, glowing shadows and diffuse, washing fields of light.
Selbach focuses on techniques for conveying extremely high contrast, because sunlight and shadows shown in natural light are her inspirations. She has mastered the contrast techniques described here, but many others exist. The key to discovering your personal preferences is to think about how you see what you see. Feel free to share your own tips and observations in the comments.
--Daniel
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Source: http://julieoakley.blogspot.com/2011/09/lamorna-cove.html
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Source: http://blogdelanine.blogspot.com/2011/11/food-rules.html
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Source: http://sketchoftheday.blogspot.com/2011/10/rohmans.html
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Source: http://www.artistdaily.com/blogs/drawing/archive/2011/07/28/life-drawing-gymnastics.aspx
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Source: http://julieoakley.blogspot.com/2011/08/one-of-series.html
Source: http://drawsketch.about.com/b/2011/12/02/figure-drawings-by-ed-hall.htm
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Source: http://www.quarehawk.com/blog/2011/07/26/barack-obama-caricature/
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I want to thank all of you for all the wonderful entries for this year's Move Over Hallmark! Holiday Card Contest.
Who needs to go buy a holiday card from a drug store when you're as creative as, well, all of you! You all have helped us celebrate the holiday season at Artist Daily and American Artist magazine by creating your own holiday "card" (or cards!) and one of them has become our holiday eCard, which we will send out to all of our professional contacts and friends in the arts community and at Interweave, our parent company, this holiday season.
And without further ado, let me congratulate Alan Bateman, whose acrylic painting, Boxing Day, is our 2011 holiday e-card. This painting was inspired by a sleigh ride over the snow-covered rolling hills of Nova Scotia. Congratulations, Alan, and thank you! Your art has made our holiday season complete!
Source: http://www.artistdaily.com/blogs/artistdaily/archive/2011/12/13/holiday-card-contest-winner.aspx
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When I think about how to draw the sights around me, my mind immediately starts envisioning line. For me, it is foundational for any good drawing. And I'm not alone. When I first saw artist Steven Ketchum's work I was amazed by all the ways he used line--and line alone--to make so many interesting and surprisingly emotive works. Here are a few of my favorites.
Ketchum isn't drawn to figures that are physically beautiful or idealized. In Yesterday's Party, a somewhat frowsy female figure is depicted with slightly wild hair and dark gaps in her mouth indicating missing or rotten teeth. But the look on her face is kind, and her smile is genuine and sweet. For Ketchum, the essence of beauty is not glamour but honesty coupled with compassion for the people he chooses to render.
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| Yesterday's Party by Steven Ketchum, 2010, ink on paper, 11 x 8.5. |
Some of Ketchum's more poignant, if forlorn, works, such as Sign, feature figures with multiple hands or extra fingers. They may at first glance seem grotesque or disfigured, but Ketchum offers a different view. "I imagine someone who is desperate to have affection, to be loved, and how that, in a metaphorical sense, can mutate," he says. "How that genuine need can turn ugly and seem almost aggressive or scary--an act of desperation."
Ketchum is also not stumped by how to draw people with line, despite the volume and curves inherent in the human form. In fact, he uses his drawings to play with the body in different states of action or movement. In Fall Down, Get Up, the figure is violently active, moving so fast he sports extra legs. He could be hurling through space, jerking from the impact of a bullet, having a seizure, or forcefully dancing.
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| Sign by Steven Ketchum, 2010, ink on paper, 30 x 22. | Get Up, Fall Down by Steven Ketchum, 2010, ink on paper, 24 x 18. | |||
For Ketchum, drawing and sketching mastery is inextricably linked to mark making and line. In every issue of Drawing magazine, there is instruction and artist profiles that allow me to more fully understand how varied and exceptional line can be--along with shadows, hatching, gradation, curves, and all the rest of the tools a draftsman needs. I've learned so much from the artists in Drawing and I think your art deserves that same opportunity. Enjoy your subscription!
Source: http://www.artistdaily.com/blogs/artistdaily/archive/2011/12/05/art-can-live-on-line-alone.aspx
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