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Leyendecker’s Method. In December of 1950, Saturday Evening Post cover artist J.C.

Leyendecker’s Method

Leyendecker outlined his basic method in a letter to a student. “My first step is to fill a sketch pad with a number of small rough sketches about two by three inches, keeping them on one sheet so you can compare them at a glance. “Select the one that seems to tell the story most clearly and has an interesting design. Enlarge this by square to the size of the magazine cover, adding more detail and color as needed. “You are now ready for the model. “You may now dismiss your model, but be sure you have all the material needed with separate studies of parts to choose from, for you are now on your own and must work entirely from your studies. Second Head Swim (2016) Lime Tree Gallery - Contemporary Art Galleries in Suffolk & Bristol, England. Sketching With a Moleskine.

When I checked the links in the "Sketchers on the Web" section of the Sketching Forum I was amazed at how many photos of Moleskines I saw.

Sketching With a Moleskine

A lot of artists swear by these little notebooks, and others are annoyed at all the hype surrounding them and their cult status. Several blogs and websites are dedicated to the Moleskine. So what's all the fuss about Moleskines? And just what is a Moleskine? A Moleskine (pronounced mo-leh-skeen'-eh) is a small pocket size blank book with a black textured oilcloth cover which resembles leather, a permanently attached ribbon bookmark, a pocket on the inside back cover and elastic band to hold the cover closed when not in use.

Well, that was the definition of a Moleskine back when they first appeared on the market in the late 1990's. I'm going to ignore that newer, expanded definition; as far as I'm concerned a Moleskine is still a small black notebook, and that is what this article is about. . The appearance, exit and reappearance of the Moleskine ? . Behance. Behance. Magnum photographer Harry Gruyaert opens his archive for Penguin's Maigret series - Creative Review. Penguin is republishing each of Simenon’s Maigret detective novels at a rate of one a month, and with over 20 now available, it’s possible to get a sense of how Gruyaert’s imagery is working across the new series.

Magnum photographer Harry Gruyaert opens his archive for Penguin's Maigret series - Creative Review

Paired with fairly sparse design for the author’s name and individual book titles, Gruyaert’s photographs take centre stage on the covers. Gruyaert is especially known for his experimental use of colour and his striking use of light and shadow. His photograph’s often contain an air of dramatic mystery, making them a natural companion for a series of detective novels. Penguin first struck upon working with him after Peter Galassi, former curator of photographs at MoMA, New York, suggested him for the series, and picture editor Johnson has since worked closely with Gruyaert to find the right images for the books. “We looked through his archives together and that was really great,” she says. Many of the covers feature details cropped from larger shots.

Mike Hall. Studio view of the headland – The Lion Street Gallery. Stages/Order - edwardoriginals.com. A Short History Of British Portraiture - The Royal Society of Portrait Painters. RP Annual Portrait Exhibition 2016. Peter Brown Online Catalogue. Discover Artists Amy J. Drucker (1873–1951) Solomon j solomon. Eva Frankfurther. Born in Berlin to an assimilated Jewish family, Eva Frankfurther emigrated with her family to the UK in 1939 to begin a new life in London.

Eva Frankfurther

At the age of just 16, she enrolled at St Martin’s School of Art where she studied until 1951, alongside Frank Auerbach and Leon Kossoff. Whilst still studying, Frankfurther repeatedly traveled to the United States and later across Europe, where her interest in black and immigrant communities first took hold. After leaving art school and becoming disillusioned by the London art scene, Frankfurther moved to Whitechapel, where she immersed herself in the local community and began earning a living through non-artistic means.

The subjects of her paintings reflected this; often depicting her immigrant co-workers at the Lyons Corner House in Piccadilly, a bustling cafeteria that employed approximately 400 staff. Eva Frankfurther, Artist. There is an unmistakeable melancholic beauty which characterises Eva Frankfurther‘s East End drawings made during her brief working career in the nineteen-fifties.

Eva Frankfurther, Artist

Galería de Arte Jaime III. Marc Jesús Vives – Zenitart. Kevin Day: Window Table. How to choose a basic Portrait painting palette for Oils. Head Study – After Collins, Oil on Linen, Will Kemp“Every time I paint a portrait I lose a friend”John Singer Sargent How not to paint a portrait, a personal tale Let me take you back several years to the beginning of my experiments with portraiture.

How to choose a basic Portrait painting palette for Oils

It was a bright sunny morning after a long arduous night painting and I was feeling pretty pleased with myself, I had finally cracked my self-portrait…. enter my wife Vanessa Vanessa: “Why do you look like Tom Jones?” Me: “I don’t look like Tom Jones”Vanessa: “You do, what have you done? Skin tone, it isn’t easy…. This was a self-portrait for a competition, the deadline was that afternoon and I had been working late into the night convinced that the painting looked too dull, too muted. There is nothing more tricky than portraits. A basic limited portrait palette Titanium white, Yellow Ochre, Light red, English red, Raw umber, Ivory black (I usually use Winsor & Newton Artists’ oil, the Light red and English red are made by Old Holland) Richard Twose Small paintings & sketches. Mark Greenwold American, b. 1942 The Need to Understand, 200.