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1. Banana Demo

Yesterday I painted a half-hour still life demo in gouache for the Painting 1 class at Texas A and M, where I'm here this week as artist in residence. 

James Gurney at Texas A&M, photo courtesy Felice House
The subject is a banana sitting on a red piece of paper. Painting a high chroma object strongly lit against a high intensity background is the same assignment that the students have done earlier. So they get to see me wrestling with the same issues that they have faced. 



Every color that we see is a combination of the color of the light and the actual color of the surface (or "local color"). In this case, the down-facing planes in shadow are receiving reflected light from the red paper, shifting those color planes toward orange. 

As the top planes turn toward shadow near each end of the banana, they catch the blue window light, which mixes with yellow to make green. 


I make an effort to vary the edges around the form from soft to hard to soft. Nearly the whole painting is done with 3/4 inch and 1/2 inch flat brushes. I turn the brushes edge-on for the thin lines, and use the corner of the brush for the dots.

Painting by James Gurney. Photo by Felice House
Gouache colors include: white, lemon yellow, cadmium yellow medium, cadmium red, burnt sienna, ultramarine blue, and cobalt blue.

These are the only colors I have on the trip. Traveling with carry-on luggage means cutting back the colors so that they fit in the 3-1-1 TSA bags.

The palette surface is a metal pencil box primed and then painted white with enamel spray paint. The palette is held to my lightweight sketch easel with Neodymium magnets.

The students ask great questions throughout the session. Many of them are using what they're learning from these painting exercises to inform them in their 3D digital lighting projects.

Seated to my right is the professor of the class, Felice House. She says that the assignment "The Banana on Red" is a teaching project that originated with her first painting teacher at the Nova Scotia College of Art and Design, named Sheila Provazza.  

Whew! After that it's time for lunch and art talk with some of my student pals from the Department of Visualization. This week is going so fast for me and Jeanette and we're having a blast. 

If you can, please come on by College Station tonight for my Dinotopia lecture. I'll be glad to meet you or sign whatever books you bring afterward. 

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2. The Young Man Who Wouldn’t Hoe Corn

The Young Man Who Wouldn't Hoe Corn by Eric Von Schmidt

by Eric von Schmidt (Houghton Mifflin Company Boston, 1964)

Okay. It’s time for a teensy bit of name dropping. I have this cousin who is a brilliant singer and songwriter and he’s racked up a few Grammys as well. (Do you say Grammies? I don’t think so.) If you are into good, old-fashioned bluegrass and Americana, check out Jim Lauderdale. Musicians are such great storytellers, don’t you think? Sometimes I wonder if I can pack the same amount of heart and soul into a 500-word picture book that he can in a 3-minute song.

That’s partly why I was so drawn to this book, The Young Man Who Wouldn’t Hoe Corn. And that was even before I realized that there were all kinds of connections to song. That title begs to be picked and strummed, right?

The Young Man Who Wouldn't Hoe Corn by Eric Von Schmidt

I purchased this book a while back from Elwood and Eloise on Etsy. The owner, Mallory, also runs an excellent illustration blog, My Vintage Book Collection (in blog form), which is an incredible archive of gorgeous out of print materials. Thank goodness she sells some of her collection, cause I’ve added some sparkle to my own thanks to her shop. (Also, the images in this post are courtesy of her post here.)

This is the story of Jeremy Sneeze. Where he fails as a farmer he succeeds at making children laugh. (Which is to say by wiggling his ears.) He replaces fallen birds nests and makes pictures and poems. And so, of course, the elders of his town denounce his slack and shifless ways. A town meeting. A crow. A spell is cast. A sneeze. A surprise.

The Young Man Who Wouldn't Hoe Corn by Eric Von Schmidt The Young Man Who Wouldn't Hoe Corn by Eric Von Schmidt

This book’s design is reminiscent of a song. Here’s what I mean. That color—washes of analogous color in oranges and yellows and greens, those are the harmonies to the stark black’s melody. It’s steady and rhythmic like the downbeats of an upright bass. Unless they are splashed and chaotic like a mandolin’s intricacies.

The Young Man Who Wouldn't Hoe Corn by Eric Von Schmidt The Young Man Who Wouldn't Hoe Corn by Eric Von Schmidt

On top of stellar bookmaking, the story itself is a sweeping epic wrapped up in the short pages of a picture book. Listen to some of its lines:

Just about then he would get to puzzling about other things like “How high is up?” or “Who plants the dandelions?” or “Where do the stars go during the day?”

And every year all Jeremy had to offer was a big weedy field filled with assorted brambles and unchopped briars, bounded by dirty broken boulders.

Flap-flap, past bats that watched with eyes like razors, past lizards, toads, and laughing spiders, down past rats and rattlesnakes and monkeys dreaming evil dreams of moons.

We have specials today on stars that dance or boiling oceans, and a bargain rate for setting mountains into motion.

He hurled himself at the brambles and flung himself at the weeds with such speed you couldn’t tell which was hoe and which was crow.

True enough he is a sorry farmer. But in his head dwell pictures and in his heart are poems.

The Young Man Who Wouldn't Hoe Corn by Eric Von Schmidt

The listen-ability, the meter, the storytelling grumble. It’s all here. What a gem.

P.S.—A bit of poking around online still left me slightly confused about the history of this book and the similar-ly titled song. Did the book inspire the song? Did the song know about the book? I think the song inspired the nitty-gritty backstory of the young man who wouldn’t hoe corn. I can’t really tell, so I’ll just be sitting here enjoying both. Hope you are too.

ch

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3. Firebird

Firebird by Misty Copeland and Christopher Myersby Misty Copeland and Christopher Myers (Penguin Young Readers Group, 2014)

Firebird by Misty Copeland and Christopher Myers

When you open a book to sweeping, fiery endpapers, it’s almost as if you can hear the symphony begin. The author, Misty Copeland, is a principal dancer with the American Ballet Theater. The illustrator, Christopher Myers, is a Caldecott Honoree for Harlem and the son of the legendary Walter Dean Myers.

We are in stellar storytelling hands.

Firebird_MC1

(image here // Copeland dancing the Firebird)

Firebird_MC2

(image here // Copeland dancing the Firebird)

Firebird by Misty Copeland and Christopher Myers

Christopher Myers’s art captures the lines and shapes of a dancer’s movement. Intricate, suspended, and dizzying.

Firebird by Misty Copeland and Christopher Myers

Misty Copeland’s words are fire and poetry to a timid youngster’s soul.

Firebird by Misty Copeland and Christopher Myers Firebird by Misty Copeland and Christopher Myers

I adore the anticipation in this spread, the dancer waiting for the curtain to rise, and I imagine a lump in her throat and a belly full of as many swoops as the folds in the curtain.

Firebird by Misty Copeland and Christopher Myers Firebird by Misty Copeland and Christopher Myers

Each page turn reveals a composition that is even more striking than the last. This is a pairing of musicality, movement, and a jaw-dropping array of colors and feelings. The way her words and his pictures create an animated harmony is exactly how music and movement do the same in the ballerina’s world.

A perfect pas de deux.

Firebird by Misty Copeland and Christopher Myers

For more on Misty Copeland, take a look at this. She is a lovely storyteller, both in her books and with her body.

 

 

Firebird by Misty Copeland and Christopher Myers

ch

Review copy provided by the publisher.

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4. Pika

Christine Marie Larsen Illustration of a Pika

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5. Sweater Weather

Illustration of a woman wearing a sweater by Christine Marie Larsen

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6. Solstice Effect

Here's an unusual effect in Indiana where the sun is setting directly behind us due west on the Solstice, and the light bounces back from all the signs lined up due east.

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7. Pixar supercut arranged ROYGBIV


ROYGBIV: A Pixar Supercut from Rishi Kaneria on Vimeo.
Editor Rishi Kaneria excerpted short scenes from the Pixar films and arranged them according to the spectrum, showing how much individual sequences are shifted to a particular narrow color gamuts. (Link to Vimeo video)

Here's the color script for the movie "Up." The high-chroma sequences are interspersed between gray or neutral ones, and the intense colors are reserved for important emotional moments of the film.

Film = color + time.

This color script for "The Incredibles" not only suggests a palette of colors for each sequence, but a set of basic geometric ingredients, known as the "shape language" for that part of the film.

All images © Disney/Pixar, via TNW

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8. Mix It Up!

MixItUpCover

(image via here.)

by Hervé Tullet (Chronicle Books, 2014)

First of all. Welcome to the new Design of the Picture Book! I’m super excited to feature this particular book as the first spot in my face-lifted blog–its heart and soul of art and play is exactly what I think these new digs represent.

Do you see? The logo! The colors! The Book Party? THE BOOK PARTY?!! (If you are in a reader, click over and see all the goodies. And for the love, please join the Book Party. I mean really.)

Super huge thanks to Sara Jensen for, well, everything. (#taken)

Mix It Up by Herve Tullet

It’s here. This highly anticipated follow up to the smash hit Press Here is muddled-up fun and completely magical.

Remember those rolls of endless butcher paper and squishing your fingers into as many paint puddles as possible? That’s what this book is. It’s a lesson in color mixing wrapped up in a hefty dose of play.

Mix It Up by Herve TulletMix It Up by Herve Tullet

Slam the book together so the yellow and blue make green. Shake it on its side and watch purple drips racing off the page. What happens when you add some white? Or black? Or stick your hand right in the middle of the mess?

Mix It Up by Herve TulletMix It Up by Herve Tullet

It’s a color theory primer and an invitation to get dirty. And isn’t that the best kind of creating?

Mix It Up by Herve Tullet

I’m a grownup. I get the gig here. And still I looked at my palm when I flipped the last page of this book, sure it would be dripping with paint.

Welcome back to childhood. It’s good here.

Want to win a children’s painting studio worth $500? Check out the details here, and tweet away using #MixItUpBook!

P.S – If you need more Hervé Tullet (and the answer is probably yes, yes you do) check out this other experiential art book for tiny, creative minds.

ch

I received this book from the publisher (right back atcha, #chroniclecrush!), but opinions are all mine.

 

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9. A Very Special House

A Very Special House by Ruth Krauss and Maurice Sendak

by Ruth Krauss and Maurice Sendak (HarperCollins, 1953)

School’s been back in the swing of things for a couple weeks, and it has been bananas. But I’ve got this beautiful new space and some read-in-me-for-hours lounge chairs and the kids named our bright new sitting area The Birdhouse. This week: shelves and books. The heart and soul.

The Birdhouse

That’s why I needed to visit a book that is about all of those things: comfort and wonder and imagination and a very special place.

A Very Special House by Ruth Krauss and Maurice Sendak

I love this little dancer-dreamer: dee dee dee oh-h-h.A Very Special House by Ruth Krauss and Maurice Sendak A Very Special House by Ruth Krauss and Maurice Sendak

This book is the hope of yellow and the broken-in-ness of blue overalls and the loose lines of childhood. This book started with two masters but belongs to the rest of us. It’s root in the moodle of our head head heads.

A Very Special House by Ruth Krauss and Maurice Sendak

And this is what I want for anyone who finds a story in our very special place: A Very Special House by Ruth Krauss and Maurice Sendak

They and I are making secrets 

and we’re falling over laughing

and we’re running in and out

and we hooie hooie hooie

then we think we are some chickens

then we’re singing in the opera then

we’re going going going going ooie ooie ooie.

The view

ch


Tagged: color, libraries, maurice sendak, ruth krauss, stories

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10. Sing like nothing else matters !

When you are feeling all alone, if you just sing out loud you may be surprised how many others will join in with you …JDMn6Birds62920141


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11. A Sly Suitor

Getting ready for Open-Studios here in Santa Cruz, I decided to try a new inking and watercolor combination.



via Studio Bowes Art Blog at http://ift.tt/1sEOid2

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12. A Sly Suitor



via Emergent Ideas A Sly Suitor


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13. Abbott Color Wheel



Russ Abbott is launching a Kickstarter campaign for a gamut mask tool that lets tattoo artists select exactly the color scheme they want from the wide range of available ink colors.

Abbott Color Wheel on Kickstarter
Color and Light: A Guide for the Realist Painter, #1 on Amazon/Painting

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14. Who's gonna be at XOXO?

Christine Marie Larsen illustration: xoxofest attendees sketch

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15. Put Up or Shut Up / It's Canning Time!

Illustration of canning jar by Christine Marie Larsen. Canning, preserving, jams

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16. Greenbelt

Christine Marie Larsen illustration of a greenbelt. Forest trees mountain.

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17. Complementary Shadows

Arbi asks: "Could you please explain about 'complementary shadows?' Some attribute complementary shadows to the Impressionist habit of painting the reflected color of blue sky in shadows, and others attribute it to simultaneous-contrast. Is it real? Do you use it in your painting, and how do you implement it?"

Maxfield Parrish

Arbi, it's a little of both. In most sunny conditions, shadows really are in a complementary color range compared to the sunlit surfaces because they're lit by the relatively blue skylight.

By contrast, the sunlit surfaces are lit by the sum of the sunlight and the skylight, with the sunlight dominating. It's easy to demonstrate this with a camera that is color balanced to sunlit white paper. When you take the same white paper and photograph it again in shadow, it's clearly bluer.

The effect is heightened late in the day as the sun is lower in the sky. More of the short-wavelength is scattered out of the sunlight, leaving more orange or red light, and making the color contrast between light and shadow more obvious.

(A brief caution on the above: the shadow side of any object receives not only skylight, but also reflected light from other sources, so if those sources of reflected light are very warm, and the sky is blocked by trees or clouds, the shadow might be very warm, too.)

These are all from the shadow side of a white building. From the post "A White Building in Shadow"
At the same time, our visual system is set up in such a way that exposure to any color causes adjacent colors to appear complementary, so a yellow square next to a gray square will make the gray square look bluer.

This is an effect I like to use a lot, not only to simulate the "Golden Hour" time of day, but also in small ways, to alternate relatively warm and cool colors throughout a picture.
-----
Previously on GJ:
Golden Hour
Induced Color
Warm and Cool Colors
A White Building in Shadow
Color and Light: A Guide for the Realist Painter on Amazon



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18. “Rose colored glasses”

JDM_G_Flower9720141

 

I was just thinking that it’s not the perfect flower I look for in my photography, it’s the perfect feeling, same with my friends, they all have little flaws just like me but when I close my eyes and think of them I only know the sweet essence of their perfection and see how wonderful life is to let me see them … Love you all !


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19. Color Corona from a Bright Sky


I'd like to wrap up our extended Watercolor Workshop Week by talking a little more about a light effect that I mentioned on the video "Watercolor in the Wild."

While I was painting this carriage house on location, I tried to convey the feeling that the sky was both very blue and very bright. I wanted to simulate an effect that I have noticed in photography, where a bright sky bleaches out the camera's receptors and then spills over into small forms, making them take on the blue of the sky. 

I painted a very light cool wash in the sky, and then laid in the turrets, tree trunks, and branches with a mid-range blue. I also used a blue-gray watercolor pencil for the branches. 

The scene didn't actually look this way to my eye—the sky actually looked like a light to mid-range high-chroma blue, and the branches looked extremely dark. I had to consciously override what I was perceiving and paint an effect that I was imagining. 

While I was painting the picture, I took a photo to see if the camera actually did see it that way, and sure enough, the small forms turned quite blue.

I used the same basic idea of colorizing small forms against a bright sky when I painted "Churchyard," the final demo on the video. This time, though, I wanted the sky to look warm, so I laid down a very light yellow-ochre wash and then drybrushed the branches using a dull orange watercolor.
----

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20. Homer Henry Hudson’s Curio Museum and an interview with Zack Rock

Homer Henry Hudson’s Curio Museum by Zack Rock

by Zack Rock (Creative Editions, 2014)

Zack Rock and I haunt some of the same circles on the internet. I have a tshirt with his work on it thanks to Vintage Kids’ Books My Kid Loves (how cool is that header?), and I have long admired his work thanks to some tea time at Seven Impossible Things here and here. And once upon a time in 2012, Zack wrote a hilarious joke for a Hallowtweet contest run by Adam Rex and Steven Malk.

I remember that well, cause in fun-facts-here-at-Design-of-the-Picture-Book both Julie Falatko and I were runners-up in that contest, and the real prize was getting her friendship. Start of an era, for sure. (Although Zack did get an original piece of Adam Rex art, and we’d both admit to coveting that a little. See below!)

So. I’ve had my eye out for this book for years. Years! And I was so happy that Zack spent some time chatting with me about this smorgasbord of stuff and story. He also said he “answered the living daylights” out of these questions, so I sure hope you enjoy the living daylights out of them like I did.

Welcome, Zack! (That jovial picture is from his blog, where he has killer posts like this one on bad drawings and perspective. Check it out!)

IMG_9253breakerHomer Henry Hudson’s Curio Museum by Zack Rock

One thing I know that’s true of kids is that they love a billion teensy and scrutinize-able details in books. Your book starts out with such cool stuff on the endpapers, that I almost (only almost) don’t want to keep going! Do you have any kind of catalog for these curiosities, or did you just create anything and everything that felt right? Is there a backstory for each of these elements?!

I drew whatever felt right, “right” being subject to how exhausted my imagination was at the time. And though I’d like to leave the history of the curios up to the readers’ interpretation, I carry a backstory for each in my mind—some more convoluted than others.

For instance, in the museum there’s an antique, penny arcade cabinet inspired by the Musée Mécanique, which houses scores of these old contraptions in San Francisco. So to honor them, I fitted my museum’s machine with a tiny, top-hatted automaton of one of SF’s most curious citizens: Norton I, self-proclaimed Emperor of the United States of America (a real guy). So plenty of thought went into that curio.

On the other hand, another curio is an apple with a faucet sticking out of it because I was thirsty when I drew it.Homer Henry Hudson’s Curio Museum by Zack Rock

(I love the way this whole book starts. I feel like I’m in really good hands.)

Thanks! I like to consider myself the Allstate of illustrators.

What’s your studio like? Do you have trinkets and tschotskes or a cool window view?

Believe it or not, I’m allergic to collecting stuff, so my studio is bare as a monk’s cell. My mother, however, has a fondness/compulsion for antiquing in bulk; almost none of her massive collection of furniture and doodads got past the door of my childhood home without having first seen several generations of use. It lent the crowded house an air of the same well-worn nostalgia that permeates the pages of my book.studio

Surely you’ve hidden some easter eggs in these pages. Any hints? Any behind-the-scenes stories?

Now I regret not hiding an actual Easter Egg in the museum. Honestly, nearly everything in the book is an Easter Egg, since there’s a secret story encased in each curio. But instead of cracking those open, I’ll share a behind-the-scenes tour of the book’s present day setting.

I created the book while living in Seattle, and Pacific Northwest references are littered throughout it. The license plate on the VW Bug in the first scene reads “FRMTTRL,” an allusion to the massive concrete Fremont Troll lurking beneath the Seattle’s Aurora Bridge. The museum exterior is based on the old town hall in Bellingham, WA, and the fictional island it crashed on is named for Washington State’s notorious children’s writer, Sherman Alexie. A Washington State ferry, the Olympic Mountains, a totem pole from Pike Place Market, and a handful of other Puget Sound souvenirs also make an appearance in the book.Homer Henry Hudson’s Curio Museum by Zack Rock

This book has a real undercurrent of ignored things being a treasure with a story. Are you a treasure hunter or a treasure-leaver-for-somebody-else? (I think that’s what making books is, so you are that one for sure. I guess what I’m asking is why do you think HHH was such a collector of stories, and do you see any parallels in your own life of creative curating?)

Ooo, books as treasures to be discovered, I like that! Makes me sound like a pirate.

Homer is an underdog; nobody would look at him and assume his adventures extend beyond an expedition to the local sushi restaurant. He identifies himself with the object’s he curates, so he surrounds himself with the lost and neglected, and by exhibiting their rich history to the world he literally shares his own biography.

And I’ll leave the parallels with my own life to the armchair psychoanalysts.Homer Henry Hudson’s Curio Museum by Zack Rock

What came first to you in this story: words or pictures? Can you talk to being a picture book creator who deals with both parts? (And in case anyone’s wondering, my favorite line is this one: My luggage may be dusty. But my hat still fits.)

Ha, that’s the one line written entirely by my editor Aaron! He suggested it while editing the book, and I thought it was great too, so we kept it in.

Being an author/illustrator isn’t terribly different than being solely a writer, the main distinction is that you have a visual language to express the story as well. So I can employ the duel butterfly nets of text and images to capture the picture book ideas that flutter into view, jotting notes alongside small thumbnail sketches as I try to pin down plot/character/theme details. It becomes a balancing act of seeing which of the two, words or images, best conveys what needs to be communicated.Homer Henry Hudson’s Curio Museum by Zack Rock Homer Henry Hudson’s Curio Museum by Zack RockWhat’s your creative process like? Any weird routines? What’s your medium of choice?

My only real habit—creative or otherwise—are the nightly walks I take after work, allowing my legs and mind to wander. In fact, I got the original idea for Homer Henry Hudson during one of these constitutionals.

And for picture books I work almost exclusively in watercolor, though for other projects I work in pen and ink, digitally, or with accidental food stains.

Who are your literary and artistic heroes?

They’re all in the book! Along with Shaun Tan, Maurice Sendak and Lisbeth Zwerger—who I painted into a restaurant scene—there’s references to Søren Kierkegaard, Jorges Luis Borges, Franz Kafka, Renee Magritte, Herman Melville, JD Salinger, George Orwell, Ingmar Bergman, Charles Schulz, and of course, Homer. Even my favorite comedian, Paul F Tompkins, whose podcasts kept me company during the long hours of illustrating the book, has a cameo as a pipe-smoking painting.Homer Henry Hudson’s Curio Museum by Zack Rock

Do you have a favorite piece of artwork hanging in your house? Or a favorite tune that feels like art?

A few years ago, Adam Rex held a contest to see who could fit the best Halloween haiku into the constraints of a tweet. To my surprise he picked mine, and to my utter flabbergastination he went on to illustrate it and sent me the original art! It’s incredible. I framed it above my art desk as a reminder that, with hard work and dedication to my craft, I may one day hope to be the poor man’s Adam Rex.

Why books for kids?

One of the most valuable skills to possess is the ability to approach the world and its inhabitants with wonder, curiosity and interest. What’s great about kids is that they do this naturally and without being self-conscious. My hope is that Homer Henry Hudson’s Curio Museum and future books will be something readers carry with them as they grow older and are tempted to lose that wonder, reminders there’s so much more to the world, the things in it, and yourself to discover if you approach life with an open heart.

Plus, I have nothing to say that couldn’t be said by a talking dog.Homer Henry Hudson’s Curio Museum by Zack RockWhat’s next for you?

Another book for Creative Editions about the power of stories, this time from the perspective of an acrobatic pig.

How can we buy your book?

Through your local struggling independent bookseller. Or Powells.com. Or, sigh, Amazon.com.

What did I miss?

There are humanoid pears hanging in the first illustration of the museum interior, bottom of the page. Look past the table leg and Grecian urn. See that? It’s a butt!Homer Henry Hudson’s Curio Museum by Zack RockbreakerI’m pretty sure that’s the first butt mention on this blog. Have any treasure-hunters? Or fans of hidden picture art? Since we all love talking dogs, this book is a great choice for all readers everywhere.

ch

 

 


Tagged: adam rex, color, creative editions, pattern, repetition, zack rock

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21. Prismatic Palette



Frank Mason (1921-2009) was a painter and teacher at the Art Students League who used a shelf-like palette arrangement for his oil paints called "The Prismatic Palette." One of Mason's students, Keith Gunderson, explained it to me this way:

Prismatic Palette by Leslie Watkins
"The value scale was the essence of the shelf arrangements, with emphasis on “Orange Value” as the unifying tone of the lights. The shelves were arrayed with a string of greens made from “Parent Green”; premixed value strings of Blue, Violet, and Grey to calibrate atmospheric perspective; a shelf for pre-mixed tints for the sky; and a “Control String” of pure colors squeezed from the tube, arranged by value from light to dark." 

"Modulating a color with it’s complement was often substituted by mixing grey or brown into that color... perhaps an influence of Frank’s teacher  [Frank Vincent] Dumond (1865-1951) and Dumond’s teacher, [Jules Joseph] Lefebvre (1836–1911)."

I have also heard "parent green" referred to as "vegetable green," the color of transmitted light through backlit young leaves.
Landscape by Frank Vincent Dumond
Here are a couple of paintings by League instructor and link to the French tradition, Frank Vincent Dumond, showing his very sensitive approach to color.
Dumond, Christ and the Fishermen, 1891
Leslie Watkins, another Mason student, describes the prismatic palette this way:

From Pinterest via Outdoor Painter
"It clarifies several strings of colors into even steps, with the lightest or highest values descending to the lowest or darkest tones." 

"The steps are based on pure colors from cadmium lemon yellow to alizarin crimson. The different strings of colors consist of grays, violets, blues and greens."

Another Art Students League teacher (and another Frank), Frank Reilly (1906-1965), also taught a value-based system of premixing palette colors, but it was different from Mason's. Reilly's lineage connects him to GérômeDelaroche and Boulanger

Both systems are descendants of a common practice among painters before the 20th century to premix colors in sequences of stepped values, analogous to the keys and manuals of a pipe organ.

I'm obviously no expert on the League instructors' systems, so I welcome further insights and discussion in the comments.

Previously on GJ Premixing Color
More on the Prismatic Palette by Leslie Watkins at the Art Times Journal

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22. Fox’s Garden

Fox's Garden by Princesse Camcam

by Princesse Camcam (Enchanted Lion, 2014)

It’s hot in Los Angeles. Like, super really really hot. That’s why this book is an especially welcome reprieve. A book with snow in it? Please. A book with cool blues and winter scenes? Yes.

This is Fox’s Garden.

It’s a lovely little book.Fox's Garden by Princesse Camcam

A lone fox, stark red against the white forest. A house in the distance, swirling with the colors of home and twilight. Frightened grownups chase him away. A boy cloaked in red, watching and waiting and caring. Fox's Garden by Princesse CamcamFox's Garden by Princesse Camcam

This boy loves animals. They are in sketches, framed on his wall. They are in mobiles and stuffed friends, in bookshelves and toy chests. Fox's Garden by Princesse Camcam

This fox, followed by her brood, leaves blossoms of kindness right back for the boy. It’s a tale of sharing and growth and unlikely accomplices. No words, all heart.Fox's Garden by Princesse Camcam

And the pictures. My French is un peu rusty, but according to Princesse Camcam’s blog, these have got to be cut paper illustrations, lit and photographed. They are intricate and textured, perfect layers for this story of a fox and his friend.

Remember when we talked about complementary colors setting the tone and mood? The rich red of the fox is set apart so dramatically from the snowy scene and the stark greenhouse. It’s a mood, and it’s a strong one. It’s so pretty, too.Fox's Garden by Princesse Camcam

Keep an eye on Enchanted Lion, folks. They are in the business of making beautiful books.

Be kind to a chased-away stranger today.

ch

Review copy provided by the publisher.

 


Tagged: color theory, complementary colors, cut paper, enchanted lion books, princesse camcam

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23. Davy Jones

More from P is for Pirate as we count down to Talk Like a Pirate Day, September 19th! I’ll be presenting a pirate program at Adams Memorial Library in Latrobe, PA, Friday & Saturday September 19th & 20th.

Here is D is for Davy Jones from sketch to final painting. Sorry about the color in my progress shots—must’ve been at night and I forgot to switch the flash on. You can see I based my version of Davy Jones on an 1892 ink drawing by John Tenniel from the British humor magazine, Punch. Tenniel is the guy who drew the famous illustrations for Alice In Wonderland.

Tight pencil sketch Ink drawing of Davy Jones from the British magazine Punch color sketch painting in progress… IMGP1680 IMGP1681 IMGP1682 Finished painting

1 Comments on Davy Jones, last added: 9/2/2014
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24. Modulating Greens in Watercolor

Blog reader Diego Conte says:

"I am a young self taught artist in Spain, and your books are probably the best resource I have ever found. And your watercolour video is amazing. I'm recommending them to every artist I know."

"I don't know if there is any article in your blog on this matter, but since there is a chapter on your book Color and Light: A Guide for the Realist Painter, I think it is not a bad idea at all to ask this question. How could I establish a good green harmony using watercolours? My mixes always end up looking muddy on the paper when I try to use green... it always look too cool If I need it to be warm or vice versa. I see a lot of great watercolor masters simply avoiding it using ochre or brown colour schemes instead. But I want to be faithful to my subject harmony. I don't know if it is an interesting topic for such a thing as an article, but any short tip or direction would be great."

Martín Rico y Ortega, watercolor
Thanks, Diego. Good question. Greens can be wonderful in watercolor, and it's a good goal to be faithful to nature.

The Spanish painter Martín Rico (1833-1908) is good to look at for how he uses greens. In this one he moves toward the blue-green hues. But it's not the hues, so much as the values that makes it work. He avoids muddiness by organizing the picture into three basic tonal areas: 1. light sky, 2. dark trees, and 3. middle-tone stream bank.

Simple, strong value schemes never look muddy. This is something Rico learned from Daubigny, one of the French Barbizon painters. 

Here's a small detail of the same painting. He uses a variety of greens, including blue greens, grey greens, and yellow greens. That doesn't mean he necessarily had a lot of separate green pigments on his palette. It just means he was conscious of varying the chroma and hue of the mixtures. Rico was also interesting in the way he left little white dots on the picture, which gives it a little sparkle.

Some artists leave green off the palette altogether and mix their greens from yellows and blues, because that way there's always variety in the mixture. In foliage there is variety of green in each leaf, variety in each small group of leaves, and variety from one tree to another, and variety from foreground to background. 

But all that variety must happen within those simple tonal areas, and that's what's a bit challenging.

Here's another watercolor landscape, this time by an English watercolorist named Harry Sutton Palmer (1854-1933). Even though his range emphasizes yellow-green, he uses a subtle variety of colors, which would be more evident in the original.

One of the secrets to both this painting and the last one is that they chose not to paint a bright blue sky. A bright blue sky behind bright green leaves might look good in a photo, but it can often be deadly in a painting. However, green foliage against sky filled with a high white cloud layer can be very attractive.

Here's one last watercolor by Harry Sutton Palmer. Those greens are all composite mixtures, and none of them are too high-chroma. They're probably muted quite a bit from what he actually saw. And he obviously worked hard to simplify his values to the general midtone of the leaves, the light sky and distant area, and the dark areas of the tree bases.

Diego, I hope that helps. Good luck with your greens. Enjoy them while they remain before autumn and winter come.

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25. Stink Eye

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