Saturday, August 6, 2016

DISNEYLAND: 'Man In Space' Part 1 - 1955 [feedly]

DISNEYLAND: 'Man In Space' Part 1 - 1955
// 13

Our family got our first TV back in 1953, and, when Walt's new DISNEYLAND hit the airwaves we sat down and enjoyed every single episode of that great series! By far, my favorite stuff was from Tomorrow Land. Here's part 1 of Man In Space, part 2 will come on Friday.

This episode explains what it's like to visit space with experts joining in on the discussion.

Walt starts the show surrounded by some awesome models of spaceships and the like!

Here's Ward Kimball, producer, writer and director of the series. This guy is no joke, he joined Disney Studios in 1934 as an animator and became involved in all aspects of animation production, most notably as the designer of Jiminy Cricket for the film "Pinnochio." He was also responsible for the redesign of Mickey Mouse! Walt recognized Kimball's achievements by making him one of the "Nine Old Men", Disney's semi-official group of advisors.

Then, here's Wernher von Braun, the German that helped design Hitler's V-2 missile, quite a score. That's his design for a 4-stage space rocket for the US.

This expert tells everyone how a rocket engine works, interesting as Hell for us kids. I was actually a science major in high school until I took chemistry, I hated it and changed my major to art when I was a sophomore.

Bring in the fifties style artwork! They show some odd rocket designs from the past.

Then they show some footage of old time uses of rocket engines, some worked and some exploded like a powder keg!

Okay, time to bring in our hero, the typical fifties cartoon dude. Here, he's really enjoying his ride until he plows it into a freakin' telephone pole!

One of my very favorite things was the rocket sled, I used to make them out of clay and throw them against the wall to see if the passenger survived the crash! Hey, number 13!!

Time to go into space to understand the effects of weightlessness, things seem fine until he goes beyond the stratosphere!

Not sure what this has to with, but, Disney sure liked to use cigars and booze bottles for props!

When you're in space with no gravity, it's hard to know which way is up, or down, or sideways!!

No matter how bad things get, there's always that certain something to brighten the day!

Beware of radiation in space, and, meteors!!

After our hero gets sucked out through the meteor hole, he bakes on the side facing the sun and freezes on the opposite side, sooo...

He needs a spacesuit with some handy Swiss knife tools, and, a tooth brush!

Then, his hand held rocket gun gets him into a ton of trouble! Tune in Friday for part 2, when we take a trip into space with some of the finest fifties space art you'll ever see!!


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Eye Candy for Today: Albert Bierstadt genre painting [feedly]

Eye Candy for Today: Albert Bierstadt genre painting
// lines and colors

Roman Fish Market. Arch of Octavius, Albert Bierstadt
Roman Fish Market. Arch of Octavius, Albert Bierstadt

Link is to zoomable version on Google Art Project; downloadable file on Wikimedia Commons, original is in the de Young Museum.

Though known primarily for his dramatic landscapes of the American west, 19th century painter Albert Bierstadt also painted other subjects, particularly early in his career.

Here he demonstrates his painting skills with deft renderings of the sights and textures of a fish market in contemporary Rome, complete with American tourists carrying their guidebook.



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Getting Even Watercolor Washes [feedly]

Getting Even Watercolor Washes
// Gurney Journey

Blog reader Kaos No Kamisama asks:

"May I ask how do you get your watercolor to spread so evenly on the paper? I always end up getting different concentrations of pigment or those pesky dark corner-concentrations."

Kaos, in my experience the evenness of watercolor washes depends on "The Four P's": the paper, the pigment, the prewetting, and the pitch (or tilt) of the board.

If the paper is gelatin-sized to accept the paint, the wash will spread more evenly. All proper watercolor paper should have sizing in it. Also, the paper should have some tooth, but not so much tooth that you can't get the paint into all the little valleys. Smooth paper (also known as plate finish or hot press) tends to take washes more unevenly than rougher, cold press watercolor paper. The paper should also be absolutely flat, which is why you want heavyweight paper, or a block, or stretched paper, which won't buckle when it's wet.
It's important to mix up a generous amount of paint and use a big brush, so that you don't run out of it in the middle of the wash. Also, the type of pigment can affect how a paint disperses. Finer organic pigments such as phthalo or quinacridone will disperse more evenly than some relatively granular inorganic pigments such as viridian. Also, paints vary in how they're formulated. Some have a dispersant additive that makes the pigment flow more evenly.

Prewetting an area with clean water before you add the pigment wash will aid dispersion. You can do this with a big, clean brush, applying the water evenly to the area where you want the wash. It should be slightly damp with no puddles. Then when you add the wash it will go down more smoothly. This method is especially good for a large area without too many detail cutouts, such as a sky. Painting a sky over a dampened paper also allows for the introduction of soft edges, especially around clouds.

Finally, and most importantly, the pitch or tilt of the board allows the wash to advance by gravity down toward the buildup of the "bead" of paint. You can keep advancing the bead downward as you develop your wash. The gravity will keep the wash from puddling backward (also called a backrun). Obviously you don't want the board to be so steep that the water breaks through the bead and drips down the board. The tilt the board can be anywhere from 10% to 40%, but it shouldn't be any moreHere's a previous post with photos of Ogden Pleissner's palette.
tilted than necessary. As you practice you'll notice that more watery mixtures will drip more easily than thicker paint mixtures. The need for a variable pitch to the board is why watercolorists need easels that can be set up at any angle, and ideally adjusted on the fly.

There's a lot more information about laying washes on the excellent website "Handprint"
My video "Watercolor in the Wild


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Guillermo del Toro (@RealGDT)
The so-called "Fear of failure" is not real fear but the necessary vertigo /recount of resources vs challenge before taking an artistic leap

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