We're on our way to Colorado and Wyoming, ready to cover events as they unfold. Our little car is packed full of gouache, casein, watercolor, fountain pens, coffee, and peanut-butter-flavored granola bars.
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Here is the cover of the sketchbook I'm currently traveling through. I called it "Rest Stop," following my custom to title the sketchbook with words that appear on the first page. The sketch on the first page is captioned the 'Heavenly Rest Stop Café.'
I'm dreaming about the road, because Jeanette and I will be leaving next week on a car trip from New York to Wyoming and Colorado. As much as possible, we'll be taking the old highways through small town America, sketching as we go.
I'll be one of the guests at the SKB Workshop in Dubois, Wyoming, September 14-19. There will be a lot of plein-air, landscape, and wildlife painters there in an informal setting.
Blog: Gurney Journey (Login to Add to MyJacketFlap)
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Illustration Master Class was in full swing in Amherst, Massachusetts, when we arrived yesterday.
Here's student Mark Helwig with his dragon reference maquette, made of Super Sculpey. He told me that it's his first time using Sculpey. There are about 100 students from all over the world, some using digital, some traditional, and some combining the two.
The workshop lasts a week, and at this stage the students have already gotten their sketch approved, gathered reference, and transferred the drawings onto the painting surface. Many of the students are professionals themselves, but everyone is trying something new, sharing techniques with each other, and staying up late hours.
IMC is team-taught by a faculty of guests and regulars, so students get plenty of opinions (not always agreeing opinions) about their sketches. I'm here for a day and a half as a guest speaker.
Back row: me, Greg Manchess, Dan Dos Santos, Irene Gallo, Scott Allie , Not Sure (sorry), Donato Giancola. Front Row: Adam Rex, Scott Fischer, Iain McCaig, Rebecca Guay, Julie Bell, and Boris Vallejo (Peter d.S. was away on a phone call).
Here's a sketch of Mo Willems, who did a slide show, explaining the anatomy of a children's picture book.
Blog: Gurney Journey (Login to Add to MyJacketFlap)
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Here are some little portraits of some of the amazing people we had supper with in Lucca:
1. The incomparable comic artist Massimiliano Frezzato, creator of I Custodi del Maser, 2. Terry Brooks, author of Sword of Shannara, 3. Emanuele Vietina, director of Lucca Comics and Games, and 4. Steve Perrin, game designer for Dungeons and Dragons and RuneQuest.
Also: 1. Skippy, 2. Mandy, 3. Athos, and 4. Andrea. These sketches were all made with water-soluble colored pencils, and all were drawn around the supper table (except the one of Skippy, which was a workshop demo).
I painted for another two hours on the charity auction demo, here at the festival of comics and games in Lucca, Italy.
The changes are mostly corrections in the drawing: fixing the windows, and tinkering with the placement of the dinosaur’s legs.
My reference was this colored pencil sketch, and I hope to do more of these tomorrow after the rain clears.
It was a great pleasure to meet and paint next to an artist I’ve admired for many, many years, Phil Hale. He painted a whole series of images based on rubbing out of black oil paint.
What better place for a double-deck hamburger than Bob’s Big Boy family restaurant in Burbank?
And what better person to enjoy it with, than Mark Frauenfelder, the guy who launched BoingBoing and Make magazine.
Built in 1949, this is the oldest Bob’s still standing. According to a bronze plaque out front, “it was designed by respected architect Wayne McAllister, incorporating the 1940s transitional design of streamline modern style while anticipating the freeform 50s coffee shop architecture.”
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More about Mark Frauenfelder at BoingBoing, Make Magazine. His new book is Made by Hand.
More about the history of Bob’s Big Boy. and on Wikipedia
Tomorrow we’ll return to sea monsters.
Here's an announcement for an upcoming lecture at the Art Institute in Phoenix, Arizona. It's open to all at no cost. Click on the image to enlarge.
Saturday, February 14, Paleopalooza Event, Philadelphia
I'm thrilled to be part of the program this weekend for Paleopalooza, a family event at the Academy of Natural Sciences, which will include live reptile shows, screenings of dinosaur movies, dinosaur drawing workshops, and me, talking about how I came up with Dinotopia and what goes into making the pictures. The event goes on all weekend, but my illustrated talk in the auditorium starts at 1 pm and is called Dinotopia: Fact and Fantasy. A Dinotopia book signing will follow the talk.
Monday, February 16, Rockville, Maryland
The Montgomery College Arts Institute in Rockville, Maryland will be hosting me on Monday, February 16 at 12:00 noon in the Theatre Arts Building, Arena. I'll give a digital slide lecture showing how to make a realistic picture of something that doesn't exist, like a fantasy subject or a historical scene. I'll cover topics like research, maquettes, perspective, color keying, and costumes. The talk is open to the public, and there will be a book signing and some original paintings to look at afterward. For more information, contact Ed Ahlstrom in the Art Department at 240.567.7639.
The little listing on the left called "Upcoming Appearances" has some of the other events this spring. I'm sorry, the botanical illustration workshop in Denver in March is sold out. I'm tentatively coming to Toronto later in March. If you live nearby, I hope to meet you at one of them.
Today I’m leaving for a month-long sketching expedition to North Africa. My traveling companion is the writer/adventurer Alan Dean Foster. I first got to know Alan over 20 years ago when I painted covers for his science fiction novels. Later he wrote two novels in the Dinotopia universe.
Over the years Alan has sent me postcards from places like Timbuktu, Pitcairn Island, Great Barrier Reef, Papua New Guinea (above) and Oouagadougou. This time I’m thrilled to be joining him. I’ll be researching a couple of different projects and sketching in watercolor and gouache. We’re going first to Malta, and then Tunisia and Morocco.
I’m leaving the laptop home with my wife Jeanette, who will be posting regularly to the blog, using content that I worked up in advance. Maybe she will share a few of her own sketches. If I can figure out the tech, I’ll try to send home some pictures from Internet cafes along the way before returning on November 26.
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We boarded Flight 23 through gate SB30, the one you get to by riding down the luggage conveyors.
Not many people know about the subterranean hangars. The steam dirigible took us into the clouds. It was a strange crowd on board—many unintelligible languages.
The coffee on board was dark and chocolaty, with a wood-fire taste, served by flight attendants who were mountain trolls, a bit grumpy.
In Geneva our dwarf guide took us down the back alleys, where you can still see the occasional “granchat.” They block traffic until they wake up.
A goat man brought us firewood on this brouette, which was parked at the base of the stairs of our stone house.
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It would be natural to assume that when John Singer Sargent painted a portrait, he had everything his way. After all, he was the most sought-after portrait artist in the world. You’d think he could set everything up exactly the way he wanted it.
But in fact he often had to overcome huge obstacles. His resourcefulness under trying conditions makes his accomplishments all the more admirable.
On Tuesday we visited the Biltmore estate in Asheville, North Carolina, the sumptuous mansion of American millionaire George Vanderbilt, above.
In 1895, at the height of his powers, Sargent came to Biltmore at the invitation of Mr. Vanderbilt to paint a full-length portrait of Biltmore’s landscape architect Frederick Law Olmsted.
But Olmsted was not in good shape. He had been injured in a carriage accident in Central Park, and was beginning to suffer from dementia. His sons were running his business in New York. His wife was insistent that Sargent paint Olmsted to look healthier than he really appeared. She worried that if he looked weak, it would injure the business.
When Sargent arrived, the estate grounds were a muddy, barren construction site, not the verdant wilderness suggested in the painting. Sargent found some mountain laurel for a very unconventional portrait background, and he depended on one of Olmsted’s sons as a stand-in for the figure.
Sargent also painted Richard Morris Hunt, Biltmore’s architect. Hunt was also in very poor health, and could not stand for long periods. He died later in the same year.
Hunt’s wife also had demands. She insisted that Sargent paint him looking robust and young. It was hard to get Hunt's availability to pose. The trip from New York took a week by train.
The Biltmore itself was still under construction, most of the building covered with scaffolding, so Sargent had to imagine how it would look. Instead of showing the whole building, he used a corner of the structure as a backdrop, just enough to suggest the Gothic revival flavor.
Jeanette and I found the exact spot where Sargent posed Hunt. You can see exactly what Sargent was looking at. He pushed the architecture back a bit to introduce the ornate balustrade at the upper left and the second column at right.
The canvas is almost 8 x 5 feet. It was painted on location, far from the artist’s comfortable studio. Sargent had to travel with his entire setup, and had no photos to fall back on.
Because Hunt couldn’t hold the jaunty pose for long, a surrogate stood in for the body. The head had to be painted in a completely different location. The reason it looks pasted on is because the light on the face is coming from the left, whereas the rest of the picture is lit from the right, as it is in the photo. I don’t know why Sargent set up this contradictory lighting, because it compromises the painting, and keeps it from being as successful as the Olmsted portrait.
Nevertheless, despite the obstacles, Sargent scored two brilliant works, masterpieces of economy of handling and originality of design.
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Your edges, and the way they lead the viewer's eye around the composition, are just perfectly stated.
Excellent! It has just enough of that "otherworldly" look we expect from dinosaurs, yet it looks believably like a baby pterosaur. Also, you do photographic effects so well. I still pull out the World Beneath and stare at that snout-shot of Stinktooth and his bad breath.
Top-notch! :D
- mp
Wonderful painting,
I feel as if I can hear the Pteranodon hatchling crying for food.
You've got to show us how you achieve those soft focus effects on paintings like this!
I really enjoyed hearing about the process you went through to create a scientifically accurate image!