Lynn Gunn got this tattoo on the inside of her right arm following PVRIS’ concert in Houston, TX on October 1, 2017. The design that she had inked is one of over 200 chapter headings that illustrator Aubrey Beardsley created for the 1893 book Le Morte d’Arthur which tells the tales of King Arthur and the ...read more...
Suzanne Geary - Suzanne Geary is a 21-year-old senior in illustration at the Rhode Island School of Design with a penchant for detailed drawings showcasing domesti...
I’m really loving book illustrations at the moment, so I think I’ll keep posting more of them. In particular, I’m fascinated by these sort...
Birome sobre papel
Explore Fred Blunt's 772 photos on Flickr!
Когда начал всё это смотреть -- кое что и понравилось... хорошая станковая графика... - Теперь вспоминаю обсуждения -- годится ли это всё для книжной иллюстрации :))…
Vegeta Vampires #varo #spanishart
Embroidery Art By Adipocere. Adipocere is the nick name of Australian artist John who has been interested in embroidery art since 2014.
Explore Paul+Paula's 10243 photos on Flickr!
Explore jordangrace's 813 photos on Flickr!
Happy Holidays from some of your favorite characters from newspapers & the TV! These vintage Christmas cards from the '80s should bring you a little old-school cheer.
Testing out some new Angora Watercolors. Feeling the need to put paint brush to page with no inspiration for a subject. So I splashed paint around and doodled. Not sure about these Angora's, a bit underwhelming. diondior.blogspot.com/2011/08/island-walk.html
Decades after fine artists embraced photography as a tool for drawing and painting pictures, illustrators remained wracked with guilt about the practice. Artists such as Cezanne, Van Gogh, Degas, Gauguin, Toulouse Lautrec and Eakins enthusiastically used photographs as a starting point for their work. They openly enjoyed the exciting new medium. But illustrators-- nursing a giant inferiority complex-- remained concerned that using photographs might somehow be cheating. Norman Rockwell recounted his shame when he began to use photographs: At a dinner at the Society of Illustrators, William Oberhardt, a fellow illustrator, grabbed my arm and said bitterly., "I hear you've gone over to the enemy." "Hunh?" I said, faking ignorance because I realized right way what he was referring to and was ashamed of it. "You're using photographs," he said accusingly. "Oh...well... you know...not actually," I mumbled. "You are ," he said. "Yes" I admitted, feeling trapped, "I am." "Judas!" he said, "Damned photographer!" and he walked away. More than a century later, commenters to this blog hotly debate whether Norman Rockwell's use of photographs undermined his artistic legacy. Fine artists never felt compelled to justify their methods. Illustrators on the other hand, remained defensive. As a result, the most thoughtful, self-conscious analyses about the use of photography in art tend to come from the field of illustration rather than gallery painting. One of the more articulate artists on this subject was the talented Austin Briggs, who used reference photographs early in his career but soon discovered the limitations of photographs as a tool for quality art: It was only as I discovered that I did not really possess an image of the object I desired when I took a snapshot that I relegated the camera to its proper place: that of a gatherer of information which has not yet been digested. Only when I reverted to the laborious task of drawing the object directly did it begin to reveal its hidden forms. Briggs' splendid drawings made from photographs clearly showed how he digested data and probed for the hidden forms. Photographs provide an undeniable head start by translating three dimensions into two dimensions for the artist. Nevertheless, Briggs described how artists still need to make important choices in order to distill information from a photograph and find the hidden forms most meaningful to the artist. The glory of drawing is that it is a limited medium; it cannot mechanically capture all data the way a snapshot does, or reproduce a snapshot, and still be successful. It is also well to remember what [drawing] is not. It is not tone, value or color, although some semblance of all these qualities may be obtained by the sophisticated use of line. Line (drawing in its most straight-forward meaning) is the most limited medium, being solely a matter of measure. It is long or short, angularly obtuse or acute and subject to measure. Measure is the characteristic of line... and line is drawing. It's necessary to know the limitation one is dealing with in order to use its positive qualities to its fullest advantage. To draw an oak leaf is "an exorcism of disorder" Without knowing what a line cannot do we'd try to express the whole leaf with it, but once we know what a line cannot do, we are on our way toward expressing the leaf in the marvelously simple way a line can function. We begin to to look for the object's anatomy, its real shape reveals itself to us because we must speak with such limited means. Thumbnail sketch by Briggs captures the essence of the forms Note how Briggs digested information from photographs in this award winning series for TV Guide. It does not bother me if a drawing starts from photographs as long as the artist exercises his or her judgment and taste in reducing the photograph into a line medium. That is the part of the artist's job that most interests me.
Museum quality Giclee print - Premium fine art paper, 100% cotton, acid-free, archival
My name is Cally and I’m a children’s book illustrator based on the beautiful Northumberland coast. I’ve been working in children’s publishing for many years, it truly is a dream job. When I’m not illustrating books I enjoy walking on the beach with my dog (who regularly features in my work!), playing the ukulele at folk nights and I especially enjoy practicing yoga.
