Wednesday, February 16, 2011

John Whelan on Concert Window

Even better than canned video is free live streaming on your computer.

Tonight at 8:00 p.m. USA Eastern time, you can watch a live concert by the great Irish accordion player John Whelan. 

The show will be webcast from Club Passim in Cambridge, Massachusetts via Concert Window, a web startup co-founded by my son Dan Gurney.
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John Whelan's official website
Concert Window / Whelan concert at 8:00
Previously on GJ: 
John Whelan at Mary Kate's
Irish Music Party (with JWhelan)
Dan's Squeezebox

Mud Trap

A couple of months ago, Scientific American magazine asked me to illustrate a feature for the upcoming March issue about an amazing discovery: a group of small dinosaurs who died together, trapped in mud.




When I delivered the oil painting of the scene (above), I also produced a short video showing how I did the painting.


Yesterday Scientific American put the video up on their official website, along with a blog post describing my analog process of making the maquette—you know, pencil, clay, glue, and paint. The cracking "mud" in the foreground of the maquette above is flour and water baked in the wood stove and painted with acrylic.

If it wasn’t below freezing outside, I would have been out in the real pond muck wallowing around to see what it feels like to die in quicksand.
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Direct link to video
Scientific American blog post
More from Scientific American about the new dinosaur discovery by Paul Sereno.

Tuesday, February 15, 2011

Video Week Starts Tomorrow

Previous Videos from 2009:
Unicycle Painter
Gallery Flambeau
Storybox
Parakeet Artist
Check out (and if you want, subscribe to) the GurneyJourney channel on YouTube

Winners of the 2009 GJ Blogreaders video contest
  We'll have a new contest (with you as the jury), announced at the end of Video Week. More on that later.

Monday, February 14, 2011

Why is There No Illustration History Textbook?

Blog reader Corey sent me the following question:
“I just graduated with my BFA, but I never got much of an education on illustration. Through your blog and others I've been slowly discovering artists like Howard Pyle, Winsor McCay, R.O. Blechman and on and on. It's been a pot luck of art history for me. I've been looking for a more comprehensive collection of illustrators, so I can create some sort of time table for all of these artists and see the landmarks I might have missed. I cracked open my big art history book from school today to see what I could find, but they accidentally skipped over the illustrations and comics. Could you recommend for me a good book on the history of illustration?”

Dear Corey,
The short answer is that to my knowledge there is no good standard illustrated textbook on the history of illustration, at least not in the USA. Why not? There are comprehensive histories of animation, movies, and comics, but there isn’t one on illustration. There should be. It would be a big project, but it’s a book that needs to be written.

There are a few books that come close. Walt and Roger Reed of the Illustration House gallery of illustration have created several editions of The Illustrator in America, (starting in 1960, and updated in 1980, and 2000). This is an excellent and authoritative survey of American illustration in the form of illustrated mini-biographies. Although there’s an essay at the beginning of each decade, the book doesn’t try to lay out the full story and draw all the connections.

Another book comes very close: 200 Years of American Illustration, by Henry C. Pitz, published by the Society of Illustrators. It’s a catalog for a 1976 exhibition, so it’s 35 years old. It’s mostly a showcase of artwork, and mostly in black and white. Although the chapters on history are good, they’re just a fraction of the book, and they don’t attempt to tell the complete story in the way Gardner, Janson or Gombrich gave their account of art history. And you're right: those older standard art histories overlook comics, animation, and illustration, and it's not accidental. It's just plain blind.

There’s also the Susan Meyer's book “Great American Illustrators,” which spotlights ten great illustrators, mostly from the Golden Age. And of course there are many books on individual illustrations, especially on Rockwell and Wyeth.

Illustration historians Fred Taraba and Dan Zimmer are putting the finishing touches on 41 Illustrators and How They Worked, a sort of companion volume to the classic 40 Illustrators and How They Worked, from the 1940s. I’m eager to see the first one, and highly recommend the second, though neither attempts to be an overall historical survey.

A complete history of American illustration needs to be compiled and written. There’s a grand opportunity for a publisher and a writer (not me—I don't know enough).

I’d be interested in comments from the Group Mind. How would you define the scope of the book? What should it include—or not include—from following list (Note: poll results from 140 blog readers follow): magazines (121), books (126), newspapers (84), humorous illustration (70), pulp (90), pin-up (85), children’s books (100), pen and ink (105), comics (80), concept art (79), advertising and packaging art (100), movie posters (107), art prints (48), mural work (31)?

How far back should it go? Should it include illustration from all countries? Did I overlook an important book to recommend to Corey?
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Recommended books:
The Illustrator in America
The Illustrator in America,
Great American Illustrators
40 Illustrators and How They Worked
41 Illustrators and How They Worked (not yet published)
Also, Illustrator Magazine provides regular articles on the history of the field.
Previously on GJ:
Academic painting and Illustrations in public museum collections

Sunday, February 13, 2011

Did Egyptians have Pygmy Mammoths?

An Egyptian mural from the Rekhmire Tomb (c. 1479 to 1401 BCE during the XVIII dynasty) shows what appears to be a baby mammoth. The artist portrayed an elephant-like creature with lots of hair, a convex back, a high-domed head, and tusks.


Science writer Darren Nash Naish proposes the “tentative suggestion that the elephant shown in Rekhmire's tomb might actually be a dwarf Woolly mammoth. If true, this would have radical implications. It would mean that the ancient Egyptians had a trading link of sorts with far eastern Siberia, and also that mammoths were captured and then transported alive to Africa!”

Both Naish and the commentators to his web article suggest other possibilities. Could it have been a surviving pygmy mammoth from one of the Mediterranean islands? Or was the artist unclear about what Asian elephants really looked like?
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Read the post at Nash’s site: Tetrapod Zoology. 
More about Cryptozoology

Saturday, February 12, 2011

New Reviews of Color and Light

If you’re still undecided about whether to pick up a copy of my new book, Color and Light, I understand. I’m the same way. I end up deliberating for a long time before buying a book. For you, I offer this post to see if a couple of new reviews might gently push you over the edge.

My favorite mini-review comes from a reader named Amanda R.: "James: In a world of art-instruction seafood buffets, I thank you for teaching me how to fish.” Amanda, you got what I was trying to do!


In the current issue of International Artist magazine, there’s a longer review that goes into some detail:

Setting the Standard
"James Gurney’s new book, Color and Light: A Guide for the Realist Painter,
is the book every artist has been waiting for One of the first things that is evident from James Gurney’s new book is that what the illustration world gained in Gurney’s successful career as the creator of the Dinotopia series, the fine art world lost. Gurney’s landscape, cityscapes and figurative paintings—many of which are included in the book to illustrate each section—are masterworks in their own right and he could easily be represented by any of the top realist galleries in New York if he chose that career instead.

"While many artist books end up being more vanity than content, Gurney’s book breaks down Color and Light in a way that I’ve never seen before.

"Gurney is able to get to explain the scientific aspects of color, light and shadow without becoming preachy or academic. In fact, his method of explaining even the most complex painting terms and techniques is simple, to the point and accessible to artists of all skill levels. Gurney’s inquisitive mind and personal desire to understand even the most difficult artistic concerns is what really drives the book.

"For example, instead of offering just a general discussion of shadows within a landscape or still life painting, Color and Light, breaks it down into smaller, manageable chapters on the separation of light and shadow, half shadows, occlusion shadows, three-quarter lighting, frontal lighting, edge lighting, light from below and even Contre Jour — a type of backlighting where a subject blocks the light.

"Gurney’s take on these topics is refreshing as, instead of falling back on overly technical explanations of such effects, he offers accessible and easy to use explanations aimed at actually helping an artist solve problems that come up during the painting process.

"For example, when discussing Frontal Lighting, Gurney offers this advice: “It’s a good lighting to choose if you want to emphasize local color or pattern—to feature a fashion or costume, for instance.” This is the type of sound, straight forward advice that Gurney offers throughout the book.

"Gurney’s understanding and mastery of light is only equaled by his explanation of color in the second half of the book. His pigment wheel is a true work of science and understanding, with pigments charted by hue, value, chroma and CIECAM hue angles. Gurney has a lot to say on color and asks artists to rethink the color wheel.

"To him, there are many problems with both the traditional color wheel and the Munsell System. He believes that the idea that red, yellow and blue are the primary colors is something that should be questioned. To him, any of the “infinite hues on the outer rim of the gradating wheel could make an equal claim as a primary.”

"Gurney’s proposition is to replace these older and problematic models with what he calls the “YURMBY” wheel. In this new version of the color wheel, the RGB is placed evenly between CMY to create a universal color wheel. For Gurney, the six equal primary colors then become yellow, red,magenta, blue, cyan and green.

"Every chapter in Color and Light serves a specific purpose and all of it is useful, valid, and tried and true methods of understanding how one can create three-dimensional images on a two-dimensional surface. His discussion of what he terms lightfastness—the resistance given pigment to fading as a result of expose to light, is an indication of the level he has gone to accurately explain all aspects of the painting process.

"At twelve complete chapters and over 200 pages, Color and Light is destined to become the new standard for artists from beginners to even the experienced artist looking to hone their skills or pick up authoritative information on any of the multitude of problems that an oil painter may encounter while practicing their craft.

"Even the index is useful — with a detailed glossary of terms, a comprehensive list of pigments and their properties (complete with a list of historic and not-recommended pigments) and finally a carefully thought out list of recommended reading (with titles ranging from Goethe to Ruskin and John Stobart) and internet resources."

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More about International Artist Magazine
24 Amazon Customer Reviews

Cruising Dubai with Video Street View

You may recall the recent post about MapCrunch, an application that generates random images from Google’s immense street view archives.



Now there’s another app that shows the view from the road between any two points. “Video Street View” started off this month with databases covering Dubai, Saïgon and Hanoï. Users pick routes and watch an immersive video that lets them pan and tilt for a 360 degree view.

Project manager, Jan-Mathieu Donnier is talking about adding data for pedestrian routes such as museum interiors.

VideoStreetView.com

Friday, February 11, 2011

Drawn Studies for the Space Jockey

Sometimes I think it’s helpful to use several different reference sources for a given figure. For this science fiction cover called Space Jockey (Color and Light, page 163), I wanted to show a space pilot who seemed to come from the “Right Stuff” era of bold space exploration.


 Instead of resorting to the camera to take photos of a specific model, I tried to construct the character in my imagination by using a variety of charcoal studies on tone paper. Some are done from my own face in a mirror, lit frontally with a clip-on lamp. I also used a couple of my little plaster head maquettes  as models. The one in the lower left is the simplified plane head  (Imaginative Realism, page 69, based on George Bridgman’s analysis) with a “mouth barrel.”

In the end I only used photo reference indirectly for some of the costume details, but not for the face and hands. This way of working helps steer me to a more structural understanding, away from a purely photographic look.
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Color and Light on Amazon
Imaginative Realism on Amazon
Or get them signed at the Dinotopia Store
Previous Posts: Character Maquettes, 
Tone paper studies, Using (or not using) Photo Reference

Thursday, February 10, 2011

Saint Francis Quote

“If you work with your hands, you’re a laborer.
If you work with your hands and your mind, you’re a craftsman.
If you work with your hands and your mind and your heart, you’re an artist.”
—Saint Francis of Assisi
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The self portrait (meant to symbolize "artist") is by  Burton Silverman
Factcheck: The quote may not actually appear in the writings of St. Francis. It also appears in the writings of Louis Nizer.
Thanks, Dennis!

Wednesday, February 9, 2011

Painful Poses

Artists’ models often had to endure difficult poses in the Royal Academy.


“The pose is occasionally very painful to retain for any length of time, especially when the head is turned or the arms uplifted,” said M.H. Spielmann, a contemporary observer. Models that moved the least bit ruined their reputation as a sitter.

A model’s uplifted arm was often suspended by ropes or chains. The dying horseman for the painting “Last Call” by the sculptor Charles Bell Birch (1832-1893) held onto a bar attached to the rafters, while his “horse” was raised up on pulleys.
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Second image (and Birch bio) at Tiscali.co.uk

M.H. Spielmann in Magazine of Art, 1888, page 139.