Friday, November 24, 2017

Victorian Dolls in Real Life

Photo: Derren Brown
These two people dressed as Victorian dolls and walked the streets of London, unsettling people wherever they went. More photos

Thursday, November 23, 2017

N.C. Wyeth's Pilgrims

Happy Thanksgiving, everyone.

N.C. Wyeth's Pilgrim Mural "Turkey Hunt"
N.C. Wyeth (1882-1945) painted a set of murals about the spirit of New England for the Metropolitan Life Insurance Company. He said the paintings were an expression of his own life and heritage. "All creative expression, be it in painting, writing, or music, if it pretends to appeal warmly and eloquently, must spring from the artist's own factual and emotional experience."
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Children's book with Wyeth's Pilgrim murals: N.C. Wyeth's Pilgrims
Quote from the classic biography: N.C. Wyeth - The collected paintings, illustrations and murals by Douglas Jr Allen

Wednesday, November 22, 2017

Living Sketchbook Updated for iPhone X

We've updated the Living Sketchbook™apps to work with the iPhone X.


The apps let you scroll through the pages of my sketchbooks and experience making-of videos and audio clips recorded at the scene.

Iain McCaig, concept artist for Star Wars, Jungle Book, and Avengers, says: "The 'Living Sketchbook' app takes a classic Gurney Sketchbook and adds audio, video, and written notes on the inspiration, palettes, and thinking behind the art. It's as if you were a friendly ghost watching the creation of every page.”

Volume 1 "Boyhood Home" is available for iOS on Apple phones and tablets at the App Store

and for Android devices at Google Play

Volume 2 "Metro North" is available in three versions to suit your device:
• App for Apple iOS phones and tablets from the App Store
• App for Android devices from Google Play
• For laptop and desktop computers, or people with old phones or tablets, a "PDF+ Edition" including all the art plus all the audio and video in HD.



Erik Tiemens of Watersketch.com says ''James Gurney's Living Sketchbook celebrates the mobility and charm of gouache, casein, colored pencil, and pen and ink in sketchbook form."
Review of the app by Teoh
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For those of you who have it already, please give it a review— and if you're wondering when the next Living Sketchbook will come out, well, I'm planning to work with my developer put together a couple of new ones by early 2018. 

Tuesday, November 21, 2017

Think Outside the Box

Whenever I hear a self-help cliché, like "Get our ducks in a row," I can't help thinking of the metaphor literally.



When someone says we should "think outside the box," I imagine what Mrs. Basher would do. (Link to video)


If you watch closely, you may glimpse a few frames like this, where the motion blur gives a different spice to the action.

Monday, November 20, 2017

Milton Caniff's Advice on Inking with a Brush

Milton Caniff (1907-1988), the cartoonist behind Terry and the Pirates and Steve Canyon, was also an instructor for the Famous Artists Cartoon Course

He noted that the brush had become a very popular tool for drawing in the 1940s and '50s in magazine gag panel cartooning.

Here are some of his tips:

1. When dipping your brush in the ink, always press it gently against the inside edge of the bottle neck to remove excess ink.


2. Before touching your brush to the paper try it first on a paper palette (a strip of paper thumbtacked to the top or side of your drawing board).

3. Never let ink dry on the brush.



4. Always wash it by rubbing the brush lightly and gently on a cake of soap, then rinse it in clear water when you are ready to put the brush away.
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You can still get the original instructional binders: Famous Artists Cartoon Course (3 Volume Set)
And there are also reprints of The Complete Terry and the Pirates
Modern brush pen that takes cartridges and is very portable: Pentel brush pen

Sunday, November 19, 2017

Akeley's Fight with a Leopard

When artists and scientists produced the dioramas for the American Museum of Natural History, they went to Africa in search of suitable animals. But sometimes the encounters didn't go as planned.



In Ethiopia, taxidermist Carl Akeley was hunting warthog and ostrich when he took an ill-advised shot toward a noise that he heard in the bush.

Unexpectedly he had injured a leopard, which pursued him and later attacked him. He knew that once engaged in a fight, a wounded leopard would never give up, and it would be a fight to the death.
"A leopard, unlike a lion, is vindictive. A wounded leopard will fight to a finish practically every time, no matter how many chances it has to escape. Once aroused, its determination is fixed on fight, and if a leopard ever gets hold, it claws and bites until its victim is in shreds. All this was in my mind, and I began looking about for the best way out of it, for I had no desire to try conclusions with a possibly wounded leopard when it was so late in the day that I could not see the sights of my rifle.”
Read the rest online at Mental Floss: The Time Carl Akeley Killed a Leopard with his Bare Hands.
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From Akeley's book In Brightest Africa

Saturday, November 18, 2017

Doré's Caricatures of Communards

Gustave Doré (1831-1883) is best known for his illustrations of the Bible and Dante's Inferno, but he was also a caricaturist. 


In this 1871 sketch of a Communard prisoner, He emphasizes the wild hair and beard by downplaying the eyes and making them mere smudges.


He pushes the sweeping curve under the chin and the aquiline nose. 


This guy has dots for pupils and a triangular face.


After their failed uprising, many of the Communards were executed or exiled. Doré portrayed them as the pitiful souls that they must have been. The sketches were done under intense conditions: "In the evening, among his friends, to the repeated sound of the cannon at Mont-Valérian and the heights of Montretout, thundering incessantly against Paris; at the striking memory of those long processions of Communard prisoners brought back from Paris to the avenues of Versailles, at the sight of those wretches, their brutish faces contracted with hatred, rage and the suffering of a long march, under a burning sun he took pleasure … in making these sketches.

Dig Deeper
Book: The Dore Illustrations for Dante's Divine Comedy
Flickr set with more of these Gustave Doré caricatures
Images: from Versailles et Paris en 1871, which also includes magistrates and members of the National Assembly
Previously on GurneyJourney: The other side of Gustave Doré
Wikipedia on Communards and Doré
Thanks, John Holbo and Mme. Bruyére

Friday, November 17, 2017

Robot jumps and does backflips


The robot "Atlas" by Boston Dynamics has moved beyond walking to jumping and doing backflips. Atlas is 5'9" and weighs about 330 lbs. (Link to video on YouTube)

Thursday, November 16, 2017

Planning a Picture with a Large Group of Figures


Karen Robinson says: "I had just been looking at work by Wilhelm Gause. I was looking at the Vienna Ball one - and puzzling over how you would even begin to render a piece with multiple figures. Do you make a really detailed drawing, pick the focal person and kind of fan out from there? What if there isn’t really a focal person, the point being that there are LOADS of people..."

Wilhelm Gause, Hofball in Wien 
Karen, when you want to show a whole lot of figures in a scene, I think it's important to work out the design in black and white preliminary sketches first.

Wilhelm Gause (German, 1853–1916)
Hofball , 1897, grisaille on paper laid on cardboard
Size:69 x 46 cm. (27.2 x 18.1 in.
In the case of Gause's Vienna Ball scene, there appear to be a related work done on tone paper. I'm not sure whether it's a preliminary sketch, or how he proceeded, but I would guess that he sketched the figures loosely at first and then worked them out individually based on models in costume.


One of my favorite Viennese multi-figure scenes is this early one done by the Gustav Klimt and his brother, before Gustave went into the more abstract work.

"Friday at the French Artists' Salon" by Jules-Alexandre Grün (b.1868)
Thanks, Damian
Some of the best painters of crowd scenes conceive of the figures as part of larger tonal masses. If you do that in the early planning stages of the picture you'll avoid the tendency for a broken up or spotty effect.

Alphonse Mucha, one of the Slav Epics
You can get that right by keeping the sketch a little out of focus, and then you can begin to differentiate the individuals. You can see this done well in the work of Alphonse Mucha, Rembrandt, Joaquin Sorolla, Tom Lovell, F.R, Gruger and others.

If you put those names in the search box of this blog you'll find posts about their compositions and design process, or this link will aggregate all posts about composition.

Wednesday, November 15, 2017

Dalí and Halsman capture a moment

"I have an idea for a photograph," Philippe Halsman said to Salvador Dalí. "In it, you, the easel, and the subject you are painting...in short everything—is in suspension."


Using invisible wires, Halsman suspended a chair, an easel, and a print of Dalí's painting Leda Atomica. Three assistants stood ready to toss their cats in the air. A fourth assistant held a big bucket of water.

Halsman counted to four. At "three" the assistants threw the water and the cats in the air, and at "four," Dalí jumped. Flash bulbs froze the action. Halsman quickly developed the film and announced that the composition was not perfect. 

They must try again.


They kept trying for 26 attempts, each time wiping the water off the floor, catching the cats, and drying them off with towels in the bathroom. 

But each time there was something wrong with the composition. This was 1948, long before the era of Photoshop. So, as Halman's daughter said, "Everything had to be done in one shot."


Five hours later, totally exhausted, Halsman declared they had a success, a photo he called Dalí Atomicus. The only thing added was the painting on the easel, which the artist painted on a small piece of paper that was pasted in.

The photo was published in Life and has made Time magazine's list of most influential photographs.



Recently, photographer Karl Taylor recreated the photo setup, sans cats (link to YouTube).

More
From the book: Halsman: Sight and Insight
Dalís Halsman's daughter recalling the photoshoot.

Tuesday, November 14, 2017

Mrs. Basher versus Social Media

Mrs. Basher is fed up with Facebook, Twitter, Instagram, and Pinterest, so she's going to let them all have it. (Link to video)



In the new end credit sequence, the three main characters in the Clementoons universe are Clement, Mrs. Basher, and mini-monster Sprocket. 

Each of them is represented by a set of a dozen or so different sculpts, and each sculpt has a specific range of movements.  


The style of action is inspired by video games. You might notice flashes of light with the zap rays (using mirrors), and little cloud puffs (using sculpted white blobs on wires) when Clement lands.

To get those little power-up gemstones moving, I turn beads on wires a fraction of a turn with each new exposure.


I puppeteer some of the poses with the camera set for a slow shutter speed to get motion blur in each frame of the fast action sequences. This gives the stop motion a different look and opens up a range of possibilities.


This kind of animation is fast to execute. You can animate about 10 seconds per hour, while in normal hand drawn or stop motion animation that much footage would take a week or two.
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Monday, November 13, 2017

Peter Kotov

Peter Ivanovich Kotov (1889 - 1953) was a Russian artist who studied with Nicolai Fechin. 



This portrait of the chemist N.D. Zelinsky features the main subject in warm light, while the outer areas of the scene is cast in cooler, more subdued light. 


Kotov was also known for his paintings of industrial subjects. This 1931 oil painting of a blast furnace focuses the light on the base of the tower.
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Sunday, November 12, 2017

Do you see a cellphone in this 1860 painting?

The woman in this 1860 painting seems to be looking at a cellphone, but really she's holding a little prayer book.

The book is an important detail, since it may keep her on the narrow path of virtue.

Ferdinand Georg Waldmüller, The Expected Ones, 1860
Once we get beyond that fun detail, look at how the painting is arranged tonally. The light is coming from behind, spilling out into the foreground path in a large, unified, triangular shape. To the left and right are well organized dark shadow masses.

The foliage masses create a circular window around the deep space view, and the foliage is lightened up as it goes back into greater distances.
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More at Motherboard "Do We All See the Woman Holding an iPhone in This 1860 Painting?"

Massachusetts blocks the sale of Rockwell's Art


After a Superior Court gave the Berkshire Museum the go-ahead to sell off the treasures of its public collection, the Massachusetts Appeals Court has issued an injunction to temporarily halt the sale.
Thanks, Attorney General Maura Healey for honoring Norman Rockwell's wishes.
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Saturday, November 11, 2017

Arguments Pro and Con for Public Funding of the Arts

Mabel Dwight Backyard
Mabel Dwight was one of the artists commissioned by Franklin Delano Roosevelt's New Deal jobs initiative. As presented in the FDR Presidential Library and Museum in Hyde Park, New York, The New Deal art programs were a productive solution for supporting creative people during economically troubled times. 


During the depths of the Depression, these programs employed artists, writers, and photographers, while also giving Americans access to art and culture. Traveling puppet shows, dance troupes, and musical performances visited every corner of the country, while muralists decorated libraries and government buildings. Were it not for the New Deal photography, Dorothea Lange's iconic 1936 photograph of the migrant mother never would have existed.

Federal support of the arts in the 1930s was an economic and cultural stimulus, and it was used as a tool for propaganda during the Cold War.

But government support is not the only mechanism for supporting art, even during tough economic times. It's good to remind ourselves that in the 1930s, artist-illustrators like Norman Rockwell were producing some of their best work, supported directly by the people through the mechanism of magazine subscriptions. 

The Case of the Stuttering Pig, 1937 ©Warner Bros Animation 
The 1930s was also the most generative decade in the history of animation, where Fleischer, Disney, Warner Bros. and other studios were perfecting the art form of animation in the economic context—and the selective pressure—of movie ticket sales. 

While many of the WPA artists and muralists are now forgotten, we remember those whose work grew and flourished in a commercial setting.


Norman Rockwell created The Four Freedoms completely on his own initiative, and at first the Office of War Information refused them. It took the response in the Saturday Evening Post to get the government to recognize their value. 

Government agencies, unless they are remarkably enlightened, may lack the discernment to reward the worthy projects and to separate the wheat from the chaff. 

In a commercial marketplace, the public votes for the art it likes with its nickels. In a government subsidy program, appointed officials must decide on what is worthy of support. 

What role should the government play in supporting painters, sculptors and photographers? What goals should drive the process, and how should the funds be administered in a time when there are few shared artistic values? What should be the test of such programs....the quality of the art, or the benefit to society?

I can see both sides to the argument, and I'd love to hear what you think in the comments.
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Read more
https://blog.feedspot.com/new_york_blogs/Feedspot award

Friday, November 10, 2017

Queen Catherine Statue Scrapped


Audrey Flack, now 86, had nearly finished working on a gigantic bronze statue of Queen Catherine for public display in Queens, New York. But protesters blocked the project, associating Catherine with the British slave trade. Sadly, the sculpture was ultimately stopped and the bronze casting melted down.
“I was crushed — it really just killed me,” said Ms. Flack, who said she had devoted nearly a decade of work to the statue, the most of any piece in her career.
“I researched her, and if she was a bad, evil person, I would not have done it,” she said of the queen. “She was a good human being.” Ms. Flack added, “She had dark Portuguese skin and was made fun of for that.”
Ms. Flack said she had visualized a prominent memorial to a strong woman in a city with very few female statues.
“I was told at the time that it would have been the largest public art statue made by a woman in the world,” she said, “and second only to the Statue of Liberty in height.”
Ms. Flack went on: “As a woman and an artist, I wanted a beautiful, intelligent female out there. Queens has the greatest ethnic diversity of any borough, and I wanted her to be a healing force bringing people together.”
Read the rest on the New York Times website

Thursday, November 9, 2017

Breaking Ranks

Alexandr Bubnov, Morning on Kulikov Field, Tretyakov, 106x198 in. 1943-7
Like other social realists of his era, Russian artist Alexandr Bubnov extolled feats of arms from Russian history. The painting shows "the ranged Russian forces just before the decisive clash with the Tatars: in their eagerness to get at the enemy, some of the Russian troops are breaking ranks."*

Howard Pyle The Nation Makers, 1903
The similarity to Howard Pyle's painting of the Revolutionary War is striking, though I assume it's unlikely that Bubnov would have seen it, so perhaps it's coincidence. Realistic history painting hung on longer in Russia than it did in the USA. 
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* Quote above is from Social Realist Painting, Yale University Press, 1998.

Wednesday, November 8, 2017

Classic Chicago Cartoonists, 1931

Here's a little video with glimpses of the cartoonists of Chicago in 1931, who worked under the same roof in the Tribune building. (Link to video) 


The video, which was a promotional film for the Chicago Tribune newspaper, gives the sense of the impact the funnies (and newspapers generally) had on people during the Depression. 

A few of the artists are filmed drawing their characters, such as Andy Gump, Little Orphan Annie, and Gasoline Alley. Walt Disney appears with them as just one of the cartoonist guys, even though he didn't do the cartoons (Floyd Gottfredson did).



Many of those cartoons appear in the gang page above, from Mel Birnkrant's collection.
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Tuesday, November 7, 2017

Meet Mrs. Basher


Here's a little teaser intro for Mrs. Basher, a new stop-motion superhero. (Link to YouTube video)


Technical notes: The lighting setup is a yellow gel in front of a soft box, with a cardboard snoot on the key light. Smoke is from a party fogger, and the camera (@60fps slowed by half) moves on a homemade radius dolly. Music by Kevin MacLeod.

Monday, November 6, 2017

Paint a Monument Results

A few weeks ago, I announced the "Paint a Monument Challenge," inviting you to sketch an outdoor sculpted statue or monument. Many of you faced challenging conditions — including 15 degree Fahrenheit temperatures with blobs of snow landing on the sketchbook!

You came up with some wonderful results. I loved reading not only about your plein-air experiences, but also about the fascinating stories behind the statues. It was really hard to choose the winners, but here we go:
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Grand Prize Winner
A stylish and expressive solution that's in keeping with the subject.

"The subject matter is not exactly what you would call a monument in that it is not a single sculpture erected in a public space in order to commemorate an event or a person. Rather, it is one from a pair of statues sitting at the entrance of a famous shintō shrine in Kyoto, Kitano Tenman-gū. (As a side note, I was actually married in Kitano Tenman-gū.) Such pairs of statues, representing two semi-fantastic creatures, the shishi, or lion, and the koma-inu, or ‘Korean dog’, are found in every shrine throughout Japan, and are thought of as guardian protectors, usually situated at any threshold outside and inside the shrine." 

"What is striking with this particular pair is how ‘untraditional’ it is. Traditional lion and dog pairs are usually smaller than human-size, carved out of stone or wood, and retain a more traditional appearance. Here, both statues are made out of bronze; at a huge scale; and while the shishi is thought to have derived from actual lions, its traditional iconography was handed down from Chinese models, as an actual lion was never seen in Japan before the 19th century. Here, it seems that the traditional shishi was fused with western examples of lion monuments."

"My sketching tool is a yatate, a portable inkwell filled with sumi ink ground on an ink stone, and paired with a calligraphy-style brush that is kept in the handle. This tool was used as far back as the 15th century, but nowadays yatate are generally thought of as antiques more than anything else. They still offer one of the most compact sketching kits imaginable, and allow to safely carry an expensive brush that would normally not leave the house. This was only my second attempt at sketching using a yatate and I cannot say that I took advantage of the versatility and expressive potential of the Japanese brush and ink."
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Finalists
Breno Macedo
Superb handling of light and interesting color gradation between warm and cool. I like the way he bleached out the lights. I also admire the variety of the edge around the vignette.


"For my entry, I picked this statue in front of Trianon Park in São Paulo, Brazil. I walk by it almost everyday and there is always an appealing light striking it in the afternoon. My medium of choice was watercolors which I find the fastest to work with. I thought it would be interesting to work with the cool and warm shades, which is always a tricky thing to do because I wanted to avoid muddy colors (my previous attempt was a mess D: ). The hot pressed paper won't allow much margin for error so worked on those lights in a single layer, from the blue hues at the top."



"The challenge was a great excuse to paint this subject and it was a lot of fun. I look forward to the next ones!"
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Silvana Rusan
Carefully observed forms and textures, with a sense of setting and time of year.



"For my monument painting challenge, I've picked a wooden totem sculpture outside the Richmond Art Centre in Richmond BC. I used gouache paints and synthetic brushes on 7x5" black 80lb acid free cover stock."



"I really enjoyed this painting, as it was interesting to notice how from top to bottom the tones of the wood became more cold, since the bottom of the sculpture is more exposed to moisture."
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Susan Otten
What a sad story, and at the same time, what a tribute to the devotion of the parents. 
"Here is a painting I did of the George Blount Memorial. It is a headstone of a five year old boy that died falling from a second floor bannister in his parents hotel in 1876. His parents, a prominent family in Columbus, were devastated by the loss of their son and created this monument in his likeness."


"It is located in the Greenlawn Cemetery in Columbus, Ohio and "Georgie" has become a popular fixture in this park-like cemetery."
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Rozene Janette
The watercolor and gouache technique gives you a good range of descriptive options for the bronze and marble. The bust seems to be a respectful tribute from one artist to another, and you've added to the chain.


"This memorial to the artist and architect Richard Morris Hunt was designed by the sculptor Daniel Chester French. It is installed in the wall of Central Park across from the Frick Museum on 5th Ave. and 70th St. Hunt designed the facade of the Metropolitan Museum of Art. I sketched it in watercolor with white gouache."

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Diego Fishburn
This rendering captures the weight and power of the bronze.


"The stars aligned, with this challenge. I travel to Barcelona often for work and have always wanted to paint the lion statues around the Christopher Columbus monument. It has a constant flow of tourists, and on the day after Catalonia declared their independence, I only had this beautiful, sunny Saturday. Painted in Gouache with Cobalt Blue, Burnt Sienna, a bit of Cad Yellow, and Titanium White."


"Incidentally, it was the video of the painting Mr. Gurney made a few years ago, of the horse and rider statue, that made me decide gouache was worth a try. Thank you James for your generosity and inspiration. Best spot was on the floor with a little shade from a light post. Luckily, I never got stepped on."

Honorable Mention: Video
I love the video and the art you did, as well as the story of the way your son joined you on the adventure.


(Link to YouTube)

Alexandre Magnin
"The statue I sketched for the challenge is called "The Secret" by an artist called John McKinnon. I chose this one because it is a statue I see almost every day going to the playground with my 2-year old son, he likes it a lot and he was excited to see it painted in my sketchbook :-) To make the challenge even more fun, I put together a short video (1'40") documenting the process: https://youtu.be/vEVvfkZ6Blw. I used mostly watercolour in my Moleskine watercolour sketchbook (8.25"x5") and added a touch of gouache at the end to suggest a few leaves."
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Be sure to see all the entries on the Paint a Monument Challenge page on Facebook. Thanks to all who entered.

Attention Winners (and Honorable Mention), please email me your mailing address (gurneyjourney at Gmail) so that I can send you a "Department of Art" patch, and let me know what video download you want.