Wednesday, July 8, 2015

Analogously

Grahame Baker Smith [feedly]



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Grahame Baker Smith
// lines and colors

Grahame Baker Smith
UK illustrator Grahame Baker Smith is known for his interpretation of classics like Pinocchio and Robin Hood, as well as contemporary works like Leon and the Place Between and FArTHER. His work for the latter garnered him the Kate Greenaway Medal in 2011 (a British medal awarded each year for "distinguished illustration in a book for children").

Smith has also done diverse projects like album cover art for Robert Plant, and an animation project on which he is currently working.

He works in both traditional and digital media, varying his approach as the project demands. Some of his pieces look like assemblages, some are straightforward, some lighter, some darker.

In taking on the challenge of a series of stamps for the Royal Mail marking the 150th anniversary of the publication of Alice's Adventures in Wonderland, Smith has neatly sidestepped the problem of getting around the definitive interpretations of Tenniel and Rackham by taking a distinctly modern approach.


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brokensynth: he’s going home by col priceSOURCE [feedly]



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gallantgambler: Give up by danciao [feedly]



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SHOUTING KAIJU & STREAMING SUPERHEROES ULTRA Q & ULTRA SEVEN on Shout! Factory TV! [feedly]



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SHOUTING KAIJU & STREAMING SUPERHEROES ULTRA Q & ULTRA SEVEN on Shout! Factory TV!
// The Good, the Bad, and Godzilla 続・夕陽の呉爾羅

ストリーミング『ウルトラQ』と『ウルトラセブン』VOD !


Watch episodes of ULTRA Q online anywhere or on your TV via Roku!

Launching this past February, Shout! Factory TV is a free "premiere digital entertainment streaming service that brings timeless and contemporary cult favorites to pop culture fans," with the "highest quality video available for all titles," free-to-consumer ad supported, original videos, special bonus behind-the-scenes featurettes, and live programming (such as the Mystery Science Theater 3000 Turkey Day Marathon).


Watch episodes of ULTRA SEVEN online or on your TV via Roku!

On July 1st, the service uploaded all 28-episodes of the classic 1966 kaiju-fantasy series ULTRA Q (click link to start viewing), precursor to ULTRAMAN, and 48-episodes of the 1967 sci-fi superhero series ULTRA SEVEN (click to start viewing), which followed ULTRAMAN, produced by Eiji Tsuburaya's world-renown Tsuburaya Productions, and are fully subtitled in English!

So, for any of those of you in North America who passed on picking up the either or both of these series on DVD from the Shout! Factory label — here's your chance to see both of these classic series and find out what all the fuss is about. So, tune in and kaiju out!


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It's Nice That : Prada enlists Wong Ping and five other illustrators for animated campaign [feedly]



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It's Nice That : Prada enlists Wong Ping and five other illustrators for animated campaign
http://www.itsnicethat.com/articles/wong-ping-prada
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It's Nice That : Charming Mercadantes short shows the simple beauty of colour [feedly]



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It's Nice That : Charming Mercadantes short shows the simple beauty of colour
http://www.itsnicethat.com/articles/color
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A Reflective Moment with Watercolor Artist Thomas Schaller [feedly]



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A Reflective Moment with Watercolor Artist Thomas Schaller
// Artist's Network

It's no secret that light itself is a sought-after subject for artists. It's changing nature and the way it can alter the mood of a scene may be one reason, not to mention the contrast it provides to shadows, for example. In the new eMagazine, Thomas Schaller: Watercolor Touched By Light, you'll learn how this artist has been inspired by light, as well as how he masters portraying it in his extraordinary landscape and cityscape paintings. Here's a peek at what he has to share.

Watercolor artist Thomas Schaller, featured at ArtistsNetwork.com

Trinity Church (watercolor, 18×13) by Thomas Schaller (Pin this!)

Thomas Schaller On . . .

His Typical Working Method: About 75 percent of my work is made in the studio, but 100 percent of what I do is informed by my plein-air work. If I'm not able to complete a painting on site, I do a small sketch–not to record what the subject looks like, but rather to capture the effects of light and the mood I'll want to convey in the final piece.

His Greatest Challenge: In the study of Buddhism, there's the belief that the act of letting go takes more strength and courage than the effort to hold on. So, to relax, to breathe, to reduce the stress of expectation and the desire for "perfection" are my biggest challenges.

The Most Interesting Thing About the Way He Works: I never sit down. I move around constantly, and I also move my painting around a good deal. I hold it upright, tip it this way and that, and use gravity to manipulate and guide the flow of my washes for various effects.

Learn more about Schaller's watercolor painting techniques in Thomas Schaller: Watercolor Touched By Light, and stay tuned–soon I'll announce an exciting collection of books that you won't want to miss.

Yours in art,
Cherie
@CherieTweetsArt
Cherie Haas, online editor
**Subscribe to the Artists Network newsletter for inspiration, instruction, and ideas, and score a free download on Watercolor Painting for Beginners: The Basics and More.

The post A Reflective Moment with Watercolor Artist Thomas Schaller appeared first on Artist's Network.


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Joris Hoefnagel (Flemish / Hungarian, 1542 - 1600) and Georg... [feedly]



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Joris Hoefnagel (Flemish / Hungarian, 1542 - 1600) and Georg...
// The Curve in the Line



Joris Hoefnagel (Flemish / Hungarian, 1542 - 1600) and Georg Bocskay (Hungarian, died 1575)

Dragonfly, Pear, Carnation, and Insect, 1561 - 1562; illumination added 1591 - 1596

Mira calligraphiae monumenta, 1561-1596

More on hideback


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10 Things...Crumping [feedly]



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10 Things...Crumping
// Muddy Colors


Greg Manchess

The brain wants to organize the chaos of the world. It wants to clean up clutter by reducing things to flat pattern, especially in two dimensional paintings. Repeating pattern can be interesting, and this is fine for certain types of graphics such as wallpaper, floor tile, fabric designs.

But to gain a sense of depth to an image, elements need to be returned to their chaotic state to reflect their source in reality. Randomness needs to be reapplied.

The term 'crumping' came from a lecture of mine at the IMC where I inadvertently misspelled the word 'clump.' It sounded awkward and funny, but turned out to be an easy way for the attendees to remember this very important aspect when composing.

When we turn difficult learning into fun experiences, we learn to remember much more easily, like learning complicated lists by singing them. Like kids do with the alphabet song.

The idea behind this is to clump forms together to make a pattern that reads rhythmically. Alternate repeating forms so that they push and pull the viewer, driving them in and out to create an easy path for the eye to follow.

When you get to a tough spot while composing figures, landscapes—almost anything repetitive—and you need the composition to get stronger, more interesting, then think of crumping elements together. 


1. Break up patterns.
The brain wants to arrange chaos, and it's easy to allow it to happen when we paint. Look for similar patterns in the elements of a painting and break them up by adjusting the space between them. Some close together, some farther apart. Break it up.

2. Clump them together.
Now pull them back together, clumping them a little here, a lot there, a bit more here. Don't worry that we can't see all of each individual form. A few isolated forms will allow the viewer to understand that shape and will be able to easily decipher, yes even be intrigued by, new shapes that grow from repeated ones.

3. Two's & Three's.
It's easy to remember to pull repeating elements apart in two's and three's. Three heads closely composed here, another two there, one isolated, two more again, etc. You can go as high as five, but odd numbers of elements tend to work well.

Notice how Mead Schaeffer uses 2 heads, 1 head, 3 heads, 2 heads to crump multiple heads into a vignette.

4. Crump repeating forms.
Shirt sleeves. Dress fabric. Hair. Light rays. Tree trunks. Cloud shapes. Rocks. Waves. Dunes. If you are seriously trying to understand painting, tell me you haven't encountered trying to get these repeating forms to look interesting. Go ahead. I'll wait.

Uh huh. I thought so. It's exasperating, I know.

Look, push some forms close together while separating others farther apart. Simple.

A beautiful drawing by Sergio Martinez where repeating folds are varied by width and line weight. Do not assume this is done without thinking about it.

Again, Martinez clumps repeating forms together and apart...the jars, for one part. Classic still life.

Engaging composition by Bernie Fuchs, allows repetitive forms of the fence to repeat but gradually become solid shapes.

So many repeating forms here, but none of them are identical. Even the turned posts are not the same in this piece by Fuchs.

One of mine...notice how the folds repeat but are never the same shape.

5. Crump repeating objects.
Birds. Leaves. Fence posts. Bubbles. Mountains. Grass. Flowers.

Flying birds? Pull some together, push others away. Overlapping forms is key (another 10 Things topic to come...). Works the same for each of the items mentioned above.

 Schaeffer glues the leaves together and decides which will show and which won't.

Again, he controls the flow of the repetitious flowers to glide into the composition.

NC Wyeth groups the birds in a lovely pattern, overlapping them into clumps. The same with the reeds. 

Walter Everett gathers and designs the leaves to flow through.

Everett does it again by crumping seagulls...

6. Crump repeating values.
Interesting paintings create depth by varying the values in the elements of the composition. A grey sky does not have the same value all the way through. Or a grey building. The variations can be so subtle they are only 'felt' by the viewer and not detected.

Lots of grass in a scene? Vary the values in the greens by crumping values together and apart to vary the passage and gain interest.

Sergio Martinez controls his values by crumping them together in the composition: table and stairs are the same as the pillar and figures, allowing the main figure to stand out.

Schaeffer holding the picture together by grouping values in sections.

And again...

Magnificent monotone by Martinez. Observe how the values are controlled. Even the face doesn't have the same value from top to bottom.

And again, spectacular scene by Sergio, where the values are collected in areas to control the light.

Here's one of my book covers for the Irish Country series by Patrick Taylor.  Notice how the values of the grasses are grouped and clumped across the scene.

7. Crump repeating color.
Sky color does not have to be pre-mixed and applied evenly. This tends to flatten the illusion of depth. Trees tend to repeat the same color across a landscape, and certainly skin repeats similar colors across a bodyscape. The idea is to break up repetition by adding subtle variations in the same color. For example, warm flesh against cool, or warm greens against cool greens.

Mix the color as you go so that the color is 'broken.' You can pre-mix colors, sure, but mix piles of the same color in varying temperatures and values. Then, crump strokes of these colors in varying degrees.

Study NC's sky...notice how the colors vary across the sky patch. Various colors and clumping brushstrokes achieve this.

Here's an easy one to recognize that flat surfaces can vary by clumping strokes and color you wouldn't expect, by Schaeffer.

Color crumps and sculpts the background in this piece by NC.

Study the deck in this Rockwell. The color is unevenly bunched and crumped to give an aspect of age, use, and also a great way to break up monotony.

Look at the barrel strokes in this Rockwell, too. Different wood effects are achieved by varying and crumping color.

This wall by Norman feels believable because the colors vary, and not evenly. They crump.

8. Deal with space.
Many average painters do not understand how to break up space. They worry that an object needs to be completely seen in order to be understood by the viewer. It usually leads to an uninteresting use of space. Nothing hangs together.

I tripped over this concept initially, too. My early compositions appeared 'spotty' and I was told so by seasoned professionals. Art school never talked about this concept in my training because the instructors had no clue about its basics. (They were "rebelling" anyway so they had no use for it.)

Try this: Sprinkle seven elements, perhaps figures, into a new composition. They are static until you allow the forms to bunch up in places, and spread out in others. Crump them.

Such a simple composition, but powerful. Martinez accomplished the drama by collecting figures behind the main focus, establishing a fabulous diagonal.


One of many montages I'm working on for a short story series by Michael Swanwick, achieved by crumping different scaled elements together, pushing and pulling to allow for a rhythmic flow. This is necessary for every montage to maintain interest.

Crumping is an idiot-simple concept. 

9. Design across the page.
Composition works from top to bottom, side to side on a page. It also works from front to back, as in foreground, middle ground, and background. Crumping objects from side to side will give you clues about developing depth from the picture foreground to the picture background.

10. Rhythm, through Crumping.
Breaking up the space in a composition creates a rhythm for the eye to follow. This can be made to drive the eye forcefully, or to allow the eye to comfortably travel through the image. Crumping multiple elements in sporadic clumps allows this to happen easily and swiftly.

NC Wyeth designed these birds to float across this composition by overlapping shapes, and gathering those shapes in offset ways. Beautiful.

Robert Cunningham masterfully designs a flock flying through the painting without any overlap, but achieves a sense of timing by having some shapes closer than others. Simple, yet phenomenal.

Martinez yet again draws his lines with repetition and vigor but gives us so very much to be interested in. Even his lines are crumped.

The late Yan Nascimbene shows how falling snow has rhythm as long as it varies in gathered clumps.

Once you try it, you'll be elated as to the number of different combinations that create not only a rhythm to your compositions, but exquisite depth as well.

(top montage image is another of the Swanwick series available on Tor.com. I can't recommend these stories enough. Very well told! It begins with The Mongolian Wizard.)
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Film Index @ Evan E. Richards [feedly]



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Film Index @ Evan E. Richards
http://evanerichards.com/film_index
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Colour Script - PIXAR [feedly]



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Colour Script - PIXAR
http://pixar-animation.weebly.com/colour-script.html
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thedragonisaprincess: cockroachsoup:cockroachsoup: Aesthetic: MMO screenshots where the IU is... [feedly]



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thedragonisaprincess: cockroachsoup:cockroachsoup: Aesthetic: MMO screenshots where the IU is...
// (ノ◥▶◀◤)ノ*:・゚✧

thedragonisaprincess:

cockroachsoup:

cockroachsoup:

Aesthetic: MMO screenshots where the IU is ridiculously cluttered and takes up most of the screen

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These make me want to scream tbh


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New Paintings on the Streets of Tokyo, Hong Kong, and Seoul by Pejac [feedly]



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New Paintings on the Streets of Tokyo, Hong Kong, and Seoul by Pejac
// Colossal

pejac-1

Spanish street artist Pejac Pejac (previously) recently toured Asia with stops in Hong Kong, Seoul, and Tokyo where he created a number of murals and temporary installations that incorporate cultural references meant both as praise and critique. You can see several additional pieces posted on his website. (via Street Art Utopia)

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pejac-3

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pejac-5

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