Monday, August 29, 2016

Tweet by Bibliophilia on Twitter

Bibliophilia (@Libroantiguo)
"In the Library" by John F. Peto (1854–1907).
Timken Museum of Art

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Sunday, August 28, 2016

Tweet by Alex Grey on Twitter

Alex Grey (@alexgreycosm)
Among the many visionary paintings recounting the tales of Krishna on display at the Hare…

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Monday, August 22, 2016

Painting Weather in Pastel [feedly]

Painting Weather in Pastel
// Artist's Network

It's fascinating how the same landscape can change depending on the time of the day, season of the year, and the specific kind of weather. We asked three pastel artists—Don Williams, Margi Lucena and Margaret Evans—about painting weather in a landscape.

Is there a specific kind of weather or atmospheric condition that you especially enjoy painting?

Margi Lucena: A fresh blanket of snow! Under cloudy skies, snow in a painting is hardly ever expressed as "white." The shadows and bounced light give such great opportunities to use an array of color—often an entirely different palette than you might expect.


Winter Contrast (pastel) by Margi Lucena

Don Williams: I'm fascinated by the fog that occasionally blankets the landscape around Sonoma. When it appears, I get my camera and drive the backroads looking for something that might make a good painting. When the fog is really dense, you're never sure what you're seeing as shapes start to appear and then fade back into the cloud. It's a wonderfully strange and mysterious world and pastel is the perfect medium to use to depict it.


Dense Fog (pastel) by Don Williams

Margaret Evans: I love sunrises and sunsets, because they create a magical mood of things to come; and watery subjects, like Venice in the rain where there can be double reflections to paint. The weather is so important to a painter, but I'm not always looking for bright sunny days – I'm more excited about clouds and mists for painting which create more mystery.


Loch Earn Blues & Golds (pastel) by Margaret Evans

To read more about painting weather conditions in pastel and to learn about the techniques and materials used to create the compelling work of these three artists, check out the October 2016 issue of Pastel Journal.

The post Painting Weather in Pastel appeared first on Artist's Network.


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Traveling Light | Anne Laddon’s Plein Air Toolkit for Pastel [feedly]

Traveling Light | Anne Laddon's Plein Air Toolkit for Pastel
// Artist's Network

As a plein air enthusiast, Anne Laddon has adjusted her painting supplies over the years to make her plein air toolkit as mobile as possible. "I really like to keep the weight down, especially in Mexico, where I'm walking on cobblestone streets up and down and all across town," she says. "I just can't carry around 15 pounds of pastels and an easel and a board to paint on."

A Simple Plein Air Toolkit for Pastel

Laddon uses a small rolling suitcase to transport her plein air toolkit, which consists of the following essentials:

    • Two small Heilman boxes with assorted pastels, mostly Holbein and Rembrandt
    • Light gray pastel pencil
    • Lightweight tripod easel. "Mine is just a $20 easel, the size of a portable umbrella."
    • Camera
    • A box with a shoulder strap to hold sheets of 12×16-inch Sennelier La Carte mid-tone paper and a sturdy piece of black Fome-Cor as a painting board

Packing light makes plein air painting a lot easier.


For more tips from artist Anne Laddon about capturing the color and personality of your favorite places, see "A Culture of Color" by Austin Williams in the October 2016 issue of Pastel Journal.



Mother's Day Daydream (pastel) by Anne Laddon






Parroquia (pastel) by Anne Laddon




Day of the Dead Altar (pastel) by Anne Laddon





The post Traveling Light | Anne Laddon's Plein Air Toolkit for Pastel appeared first on Artist's Network.


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Tuesday, August 16, 2016

Thursday, August 11, 2016

Phil KirklandThe psychedelic textbook solution [feedly]

Phil KirklandThe psychedelic textbook solution
// DOP

Back in the early 1970s, Phil Kirkland created surreal textbook illustrations, mostly for psychology and health books.

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The Refugee Nation Olympic flag was inspired by a lifejacket [feedly]

The Refugee Nation Olympic flag was inspired by a lifejacket
// It's Nice That


The official flag for The Refugee Nation, a team of ten refugees currently competing in the Rio Olympics, draws its colour scheme and design from lifejackets. Designed by Syrian artist and refugee Yara Said, the flag is a vivid orange with a single black stripe.

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The Power of Vertical Paintings with Acrylic Artist Steve Wilda [feedly]

The Power of Vertical Paintings with Acrylic Artist Steve Wilda
// Artist's Network


Since last we spoke with acrylic artist Steve Wilda, he's been chosen as one of the featured artists to appear in North Light Books' forthcoming AcrylicWorks 4: Captivating Color! An in-depth look at his selected painting, Honed to Imperfection, can be seen here. Today we talk with Wilda about his new work and the power of the vertical painting.

The Chosen One acrylic artist Steve Wilda

Acrylic Artist: Congratulations on being selected for the upcoming book.
Steve Wilda: It's always exciting to receive an acceptance letter. Having Honed to Imperfection chosen for publication in the AcrylicWorks 4 edition is fantastic, yes. The North Light Books series offers such a variety of art styles from representational to abstraction.

AA: What advice do you have for artists entering work for the first time in a competition?
SW: It's timing really, and chemistry, entering competitions, the right picture, and right juror. Artists shouldn't be discouraged if their work is not accepted. Remember that juried shows are subjective, and are only that particular juror's taste. What is not accepted in one exhibit could win an award in another. What is most important is that you like what you've created.

AA: The Chosen One, another of your paintings with a vertical orientation, certainly exhibits your hallmark style of meticulous attention to detail and a celebration of aged things. What inspired it?
SW: It's another instance of that immediate, flash reaction and desire to paint something when first discovering it. The Historical Society in my town had the gnarled feather and inkwell on display. The actual feather was whiter so I aged it—I had to put my stamp on it. The concept quickly evolved to include a pile of feathers, plus the cracked eyeglasses to create a narrative painting. I eliminated one of the lenses entirely, giving the impression the owner's vision was greatly impaired, and incorporated an inkwell—the one that was the 'worst' of the litter into the composition. The title The Chosen One certainly wasn't in my consciousness backlog, it just appeared, from somewhere.

AA:  Why the vertical layout instead of horizontal?
SW: This one had to be a vertical so the main feather's flamboyant character would be displayed upright. The vertical metal latch of the wooden milk carton (upon which the objects were placed) emphasizes the vertical format of the painting, and leads the eye upward into the composition—it adds interest.

AA: What can a strong vertical painting accomplish that a horizontal one cannot?
SW: A vertical format gives the painting stature and an elongated grace. By leading our eye upward, it can imply that there's more we're not seeing, and can appear to extend beyond the top (or bottom) edges. A horizontal painting tends to be more framed, more enclosed by its borders, certainly in height. It seems more finite by its cropping and composition.

The post The Power of Vertical Paintings with Acrylic Artist Steve Wilda appeared first on Artist's Network.


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Tweet by Ralph on Twitter

Ralph (@RalphWulms)
A Pre-Pantone Guide to Colors From 1692 via @openculture

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Tweet by Art UK on Twitter

Art UK (@artukdotorg)
#artoftheday 'Sketch for a Portrait of Madame de Pompadour' by Boucher @WaddesdonManor

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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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