Thursday, July 8, 2010

The Flying Car

The flying car was a main theme of yesterday’s dreams of the future.

The requirements: it must fit in the garage, drive on a road, take off in a small space, and fly on its own power without adding or subtracting any parts.

Finally, there’s a prototype that seems to meet the test. Now we’ve just got to figure out how to deal with air traffic.

Cover image from PopSci.com “Dude: Where’s my Flying Car?
Video via Best of YouTube
YouTube video

Wednesday, July 7, 2010

Cellphone Tour

Here’s a fun way that you can experience the Dinotopia exhibition that’s now in West Palm Beach, Florida.


In the back of one of the exhibition rooms is a painting called “Skybax Rider.”

If you have a telephone handy, dial the following number, and you can hear me in your ear talking about it. Dial 561-515-4185. Then hit extension #4.
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Tour hosted by OnCell systems
"Dinotopia: The Fantastical Art of James Gurney" at the Norton Museum of Art

Tuesday, July 6, 2010

How to Refill a Fountain Pen

Some Waterman fountain pens come with a refillable cartridge.

By submerging the end of the cartridge into a bottle of water-soluble ink and twisting the little knob, a piston will draw the ink up into the cartridge. This way you can use whatever color of ink you want, such as a brown or gray.

Gray and brown are no longer generally available as standard disposable cartridge colors in Waterman pens. But it must be water-soluble ink formulated for fountain pens, not India ink.


You can refill any fountain pen, even if it doesn’t have one of those special refillable cartridges. A hypodermic needle works perfectly for injecting ink into spent cartridges. Here I’m refilling a Schaeffer calligraphy pen.

I got my hypodermic needle in a kit for refilling printer cartridges.
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Step by step from Instructables, using different tools.

Color Correcting

The last few days I’ve been color-correcting my upcoming book. Since the subject is “color and light,” my publishers and I want to get it as accurate as we can.

Each of the 270 or so separate color illustrations has to be checked and marked up on the press proofs.

Fortunately we have most of the original art available for comparison. This painting, called “Doorway to Mystery,” was first published in Dinotopia: The World Beneath, a copy of which lies open next to the page proof. The blue-greens of that water are especially hard to capture.

Monday, July 5, 2010

Cadaver on the Cross

Academic master Léon Bonnat (1833-1922) spared no effort to inject realism into his painting of the crucifixion, commissioned for the Palais de Justice and completed in 1874.

According to one of his American students, J. Alden Weir,
“I went into the dissection room and saw Mr. Bonnat with the Prof. [Gerome]. They had just received a subject, and a the opposite side of the room I saw an immense cross, but thought nothing. Bonnat said he had not much time to stay and wanted the gendarme to hurry up so two of these soldiers and a hired man took the subject out of the room, brought the cross out and laid it on it.

It was then whispered about that Bonnat had a commission to paint a crucifixion, had bought the subject, and had the cross fixed, so as to be able to study the action of the muscles. Some of the students, hearing what was up, crowded in; this attracted Bonnat’s attention, and he got the gendarme to close the door and lock it.

We went back to the lecture room where we draw the bones, and while sitting there we heard the nails driven in. We finished; Mr. Blackman and myself went out together after all had gone.

At the door we met a guardian and bribed him to let us see the subject, which he did, and standing up against the wall was the large cross with the subject crucified on it, a horrid sight; but it shows how these French artists believe in truth.”


--from The Lure of Paris: Nineteenth-Century American Painters and Their French Teachers, by H. Barbara Weinberg

Saturday, July 3, 2010

Arnold Friberg Dies at 96

Utah artist Arnold Friberg, painter of historical scenes of Washington at Valley Forge for the U.S. Bicentennial in 1976, died Thursday at age 96.

He was known for a range of historical subjects, including images of the Royal Canadian Mounted Police, marketing art for the film "Ten Commandments" and paintings for the Church of Latter-day Saints. (Correction: The Church of Jesus Christ of Latter Day Saints. Thanks, Les!)

More samples of his work can be seen at the blog of Greg Newbold, who had the chance to meet him.
AP Friberg Obit

Rising Stars Search

ImagineFX magazine recently launched a campaign to discover, promote and celebrate the best young sci-fi and fantasy artists and illustrators, whether digital or traditionally based. If you're interested, the deadline is Monday.


“If you’re 25 or under, have a burning desire to be the best in your field, whether you’re working as an artist, a student or just want to share your art with the world, everyone is welcome. International entrants are welcome and there’s no charge for entry.

“Entrants are invited to submit five pieces of portfolio work and a short biography, sent to: imaginefx@futurenet.com. The deadline for all entries is 5 July, 2010.”


Photo by J.Gurney at the 2010 Illustration Master Class.
---from the ImagineFX press release.

Friday, July 2, 2010

Draperyman

The draperyman was a specialist who assisted portrait painters in the 18th and 19th centuries in the design and rendering of costume accessories. Below: King George III in coronation robes by Allan Ramsay (1713–1784).

Draperymen had a knack for painting velvet, lace, satin, and silk, doing so in the style of their clients. Sometimes the portrait artist would paint only the head and hands and then send the canvas to the draperyman for finishing.

One of the most prominent among them was the Flemish-born Joseph van Aken, who assisted Allan Ramsay and Sir Joshua Reynolds. So much was van Aken depended upon, that after his death in 1749, William Hogarth made a satirical drawing showing his distressed clients dolefully following his coffin.

Draperyman at Encyclopedia.com

Thursday, July 1, 2010

Undertones and Tints

Pigments can be rated according to their transparency or opacity. A good way to test your paints is to spread a thick layer, called a masstone, across a white gessoed surface (far left swatch).

Next to that, spread a thin, transparent film, called an undertone (swatches 2 and 3). A dark mark on the board behind the film of paint helps to test opacity.

The colors in these swatches are ultramarine blue, Venetian Red, and terre verte. The Venetian red is the most opaque of these three.

You can also test the pigment’s tinting strength by adding white. Tinting strength refers to the ability of a pigment to maintain chroma with the addition of white (remaining swatches). Some colors, like pthalo blue are powerful in tints. Some, like terre verte are relatively weak.

Most colors shift a bit in their color temperature. Warm colors typically shift to the cooler or bluer side.