Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art.
The Hidden Life Within - Artist Giuseppe Penone carefully removes the rings of growth to reveal the ‘sapling within’. By carving out the inside of a tree trunk and leaving the knots in place, they eventually emerge as tiny limbs
Nature is fantastic! I love trees so much. They’re so ridiculously amazing!
Guys, if you catch me complaining about how hard it is to make comics ever again, whack me upside the head with this photo. This 12-year-old student broke her ring and pinky fingers on her drawing hand this afternoon at school. Her doctor set the bones and told her to take it easy, but she DEMANDED to come to comics class.
I tried to give her a different assignment that wouldn’t require the use of her drawing hand, but again she demanded to do the assignment the others were working on.
“Doesn’t it hurt?” I asked.
“Yeah, all the time,” she replied. “But I have comics to make.”
I never, ever get to complain about how hard it is to make comics again.
#comics #comicbooks #teachingarts
Let’s get schooled by the raddest 12-year-old in all the land.
I wish i had that conviction. i have comics to draw, but in Lego Batman, it’s really fun to hit the computer until he breaks, unless it’s Superman, then it’s fun to kill villains with heat vision.
Daan Jippes’ Mickey Mouse drawings are the epitome of cartoon appeal. Daan is originally from Amsterdam and did many comic covers for Disney’s republishings of the Mickey, Donald, Uncle Scrooge, and Ducktales comic series through Gladstone in the 1980’s and 1990’s. This is just a small part of an amzing career in comics and animation. I was introduced to his work a few years back and ever since, I’ve used his series of Mickey drawings featured at the top as my “There’s so much yet to learn” reality check.
Daan’s use of energy and line flow in his drawings demonstrate an incredible knowledge of draftsmanship and appeal. How your eyes travel through his drawings feel like butter melting melting down a stack of pancakes. The energy that he puts into his drawings truly makes the characters jump off of the page. His rounded shapes all work together in a bold and refreshing way.
It may be treason to say, but I feel like Daan’s version of Mickey Mouse is a bit stronger than Floyd Gottfredson’s. While Floyd’s comics of Mickey are unbelievably appealing and demonstrate and amazing an incredible knowledge of draftsmanship, solidity, and appeal, I feel like Daan is taking what Floyd established and pushing the shapes and pliability in the characters just a tad farther. That being said, without Floyd’s Mickeys, there would be no Daan’s Mickeys. I hope these inspire you as much as they do me.
Oh my gosh, I love these. ;o;
oh wow these are beautiful. Plus any info on who did that Italian Murder Mystery Mickey is wonderful!
I have to remind myself these where inked with a brush…A BRUUUUUSH. I’ll just sob to myself.
What are studios looking for? How can I get into a good animation school? What should I be studying?
I get a lot of these types of questions now and again, and I never know how to answer them. I can’t be sure of what studios are looking for, I don’t control admissions policies to schools, and I have little idea what makes for a current and relevant curriculum. There are a lot of variables in your bid for a career in animation, and it’s kind of impossible to control most of them. You must be crazy to want this job!
I find it helpful to focus on the things I can control. Among those things are your study habits and how you spend your personal time. It’s good to work hard and have goals—without them we would get nowhere. Study hard and make decisive strides towards achieving your art goals. But in the heat of that pursuit, don’t forget to go out and live your life!
If you spend any amount of time looking at artists online, you’ve probably figured out by now that there are about a million dudes and dudettes in internetville who draw better than you (I relive this realization daily). Once your have done your best to rise to their level, the only tool you have to compete with these crazy talents is your background, your personal character—is you!
Consider developing your whole self with the same raw focus and intensity that you develop a particular skill set. Get focused. Go out, have adventures. Run, jump, skin your knee, fall in love, root loudly for the away team at a baseball game, barely escape a crash of stampeding rhinos, live to see another day. Experience things big and small. Go for a walk. The world is full of wonders.
I know this advice is not particularly animation-specific, but maybe that’s for the best. At any rate, it is something I feel strongly about. Animation is great, and there are few things that I enjoy doing more than drawing and storytelling. But in order to have stories to tell, first you have to live them.
Be good, and see you soon!
PS, if you were looking for advice on draftsmanship you should probably be reading this.
Definitely worth a reblog.
These are from DC Comic’s Superboy comic. I just picked them at random, because I know if I want to talk about how modern comics coloring is dumb as hell—DC Comics are sort of the gold standard for not giving a fuck about the colors in their books. I mean there are a lot of things Marvel does wrong—how they as a company through the years perceive the role of color in comics, is not consistently one of them. Books like X-Force and Hawkeye happen enough that you think there must be someone on staff there who recognizes a company built on a history of bold stand by your colorist moments. But DC—this is pretty standard what I expect to see with DC. They have sort of a house style for coloring, and this is basically it. Sun is red. Jeans are blue. Buildings are building colored(bat books get a little more moody in terms of color but only because they’re trying to live up to a cliche ideal of moody and noir) so on and so forth.
Anyways. This page isn’t colored badly or anything. So I’m not dissing the colorist. As far as I know they are just doing exactly what they are being paid to do. I’m more talking about the aesthetic being presented here and how it works against the other elements at play in the comic.
The First thing, like I said, is that the choices are extremely literal. Jeans are jean colored. Vest is all vest colored. So on and so forth. It’s very boring—particularly when you think about how things change color every second of the day depeneding on light, depending on the color of the things they are next to—color is not an entrenched thing—it’s a wavy thing that is constantly shifting to reflect time around it. One panel superman’s vest could be bright pink, the next it could be blue and orange. Things shift.
But even that—whatever. The thing which is really at play here which is actively making this shit look shittier than it should be—is the lighting effects/gradient filters. Every thing on this page has a fucking gradient on it. Superman’s stupid vest has gradients all through it. Making it look almost metallic in nature. His shirt under his vest looks like a knight’s coat of arms—when I think it’s just a y’know…sweater. By putting gradients all over the clothes you completely rob them of any texture. And the sad thing is if you want to show weird progressions in color on clothes—you can get pretty dynamic and crazy.
Check how Dean White has colored this x-force comic—he’s still presenting gradients—but the color choices of those changes are much bolder and create a much more singular image:
So I’d say that using gradients in this way just exposes your color choices and progressions even more. If you’re not on point with those color choices—you end up with this very bland Superboy looking comic.
But here’s the real problem. Check how the actual linework on those superboy pages looks? There’s crazy textures of ink strokes in the clothes—there’s some really cool dynamic lines on that kids mask—and it is all lost behind the gradients, and the need of the colorist to know better than the artist in terms of how to present light. If you went flats on these pages, and followed the directions of the artist’s linework—shit would kind of look like a comic that a major company put a ton of money in to make. It would look bold and challenging.
Think about Matt Hollingsworth’s work on Hawkeye and how by playing with flats instead of gradients and being on point in his color progressions he is allowing the composition and lineart of Aja to sing and for the most part because of that, the book immedietely went on a lot of top critics lists—almost irrespective of anything Fraction actually wrote in the page.
I mean look at the simplicity of this:
Because of Hollingsworth being willing to lay back in the cut here—Aja can get away with fun page design shit. I mean Chris Ware sees that and is like “duh”. The more shit a colorist puts on a page, the less you will see the lineart—and the less dynamic the composition can be.
When you do colors like the Superboy book up there, you are literaly wasting the reader’s eye’s time on the page by overloading it with mediocre shit, just so you could tell me that oh hey—“Jeans are still blue!” “Flesh color is still flesh color”. Thanks. I totally couldn’t have figure the same thing out if the page were black and white.
Most of my time writing, I talk about the stuff that is done right, and in coloring, I routinely highlight dope shit on that front. But there is I think value in occasionally calling out shit like this. Because I see smaller companies with smaller budges mimicking what DC does because “that’s what sells”—but the truth of the matter is that if you make your books like as bland and boring as DC makes their books—how exactly do you plan to stand out and steal eyes on a cramped shelf space? Especially if you are also telling the same type of played out superhero soap operas as the big two. Hiring a few bold colorists to manage your line for you—is probably the cheapest way to visually win that game. I mean not for nothing, but look at what Mignola has done with his books. He sort of has his in-house colorist in Dave Stewart who maintains cohesion across the line—so you know a mignolaverse book on sight—but he’s also making choices that are different than the ones being made at the big two on colors. There’s some sort of economic formula there in an age where readers are largely ignoring artists and paying attention mostly to the writers. If I were a cynical comic publisher—I’d be putting the bulk of my budget into the hiring top colorists and writers—and then filling the art in with cheap clean lined folk. Why am I even talking about this? I dunno.
Anyways. Gradients are dog drool. Flesh color gradients are theeee worst of the worst.
Saul Bass: Film Title Sequences— It’s a Mad, Mad, Mad, Mad World, Anatomy of a Murder, Something Wild, North by Northwest, Edge of the City, Psycho, The Man With the Golden Arm, Goodfellas, Cowboy, Spartacus, Bunny Lake Is Missing, Vertigo
Jack Kirby meeting Paul & Linda McCartney at a Wings show at the LA Forum in 1976.
Paul dedicated “Magneto and Titanium Man” to Jack at the show. In return, Jack gave Paul this piece of art.
Anatomy lesson of Dr Frederik Ruysch | Jan van Neck
Anatomy Lesson of Doctor Willem van der Meer in Delft | Pieter van Mierevelt
Anatomy Lesson of Dr. Nicolaes Tulp | Rembrandt
Anatomy Lesson of Dr. Frederik Ruysch | Adriaen Backer
The Osteology Lesson of Dr. Sebastiaen Egbertsz | Nicolaes Eliaszoon Pickenoy
Anatomy Lesson of Dr. Willem Röell | Cornelis Troost
The Anatomy Lesson of Dr. Jan Deyman | Rembrandt
Agnew Clinic | Thomas Eakins
Heart’s Anatomy | Enrique Simonet
Der Anatom (The Anatomist) | Gabriel von Max
Catwoman © DC Comics
Artwork by me
The Kickstarter moves ever onward!
Check it out and show some love!
So perfect. ;_; I met Jen van Meter (writer of the amazing Oni Press comic Hopeless Savages) at Stumptown & she showed me some of Meredith’s pages from the new Hopeless Savage volume & I nearly died from awesome.
I was originally excited bout this sketch and was just going to re-post that, but new Hopeless Savages is my jam! I loved the Greatest Hits when i picked it up, and i didn’t know that there would be more. That’s great :D
I bought naan today, best fucking idea.
I’d been thinking about doing one of these for a while, and after seeing Andrew Huang/songtowearpantsto post his progress video of art for Lip Balm, with it being sharpie on canvas, I took a canvas I had and decided to scribble out one of these.
If you’re interested in purchasing, email me at jasmine.pinales @gmail.com
Track: Album Filler by Matthew Gaydos - http://youtube.com/matthewgaydos
Check out my art playlist for other videos of me drawing similar things : http://www.youtube.com/playlist?list=PLey2Vou0RhY2lEx5AU2H_mmyO5qXektRU
For some of their films, Disney would film real actors so that the animators could watch them for reference.
I LOVE this! ♥This is so great.
When I see things like think I think of how crazy deviantarTeens are proud about not using sources or references to improve their work. i don’t reference as often as I should, but references help so much.
#everything about ross campbell’s art is ideal
fukken cool as hell
Veda 20: Art and Science are Siblings
1) https://jasmine-pinales.squarespace.com/blog/2012/12/17/end-of-formal-education-a-lazy-walk-through-my-scholarly-life — I talk about my entire educational life here, not just my worst year (which was a different year) but I wasted 2-3 years not being an art major in school. I may get depressed now but those two years had a different type of terrible wrapped around them.
2) https://jasmine-pinales.squarespace.com/blog/2013/4/20/open-for-commissions-aka-im-super-mega-broke I’m super mega broke, so if you’d like to help me out, you can buy a commissioned illustration!
So yes! I am a big fan of art and science. It’s not a secret that I love plants, especially citrus and carnivorous. Nature is crazy and I’ve posted some ridiculous and super cool things as science and nature on tumblr. I love reading science news, about new studies, exploration, and all types of fun stuff. Plants are fascinating and without plant-life we’d not really be able to live.
Respect the green! And red, and blue, and every color because plants are wild.
Where I am online:
Meisterj.tumblr.com - meisterjdraws.tumblr.com - dumbfaceaday.tumblr.com
main website: jasmine-pinales.com