Monday, February 8, 2016
-By Arnie Fenner
“I first met Murray when he came to my school in Great Neck, Long Island. His slide presentation opened up the whole world of illustration. He was so passionate that his enthusiasm gave me the alibi I needed to pursue a career in the field. Murray was the fiercest proponent of illustration I’ve ever met. He made it clear to me that I was in a noble profession.”
- Peter de Sève.
Murray Tinkleman, a legend of the illustration field and an influential educator, died January 30, just several weeks after the passing of his wife and studio partner, Carol. Inquisitive, kind, and giving, Murray was a mentor to many and an advocate for artists everywhere. He was inducted into the Society of Illustrators Hall of Fame in 2013 and the video I've attached at the end of this post marked the occasion.
Vincent Di Fate's celebration of his friend's multi-faceted career is far more knowledgeable and eloquent than anything I might say, so after you read it, you can enjoy some of Murray's art below. It's a good way to remember one of the greats.
Posted by Arnie Fenner at 5:30 AM
Saturday, February 6, 2016
Announcing the Spectrum 23 Awards Ceremony & “Spectrum Fantastic Art Live 5” Date Change
Santa Cruz, CA, February 4, 2016
With the goal of continuing the tradition of a spring awards ceremony, Director John Fleskes has announced that the honors for Spectrum 23 will be presented at a gala to be held at the historic Society of Illustrators in New York City on May 7, 2016. “For the previous four years, we were able to hold the awards ceremony in conjunction with the ‘Spectrum Fantastic Art Live’ convention,” says Fleskes, “but the plans to move the show to San Francisco prevented our doing that in 2016. Celebrating the achievements of the artists and providing an opportunity for the community to gather have always been our top priorities, and there is no better place to accomplish both than at the Society of Illustrators.”
The ceremony will be held on Saturday evening from 6 to 10 p.m. A complimentary small-plates buffet will be offered to attendees, and a cash bar will be available. Along with the presentation of Gold and Silver Awards in Spectrum’s eight categories, a memorial video will be shown, and the 2016 Rising Star and Grand Master honorees will be announced. Seating will be limited, and attendees will be asked to RSVP at a site to be announced the first week in April. The Spectrum awards are once again being sculpted and cast in bronze by Colin and Kristine Poole.
The second announcement, after much deliberation with the Spectrum Advisory Board, is that we’re moving the dates for ‘Spectrum Fantastic Art Live 5’ to May 2017,” adds Fleskes. The event was originally planned for October 2016 in association with The Academy of Art University in San Francisco. A number of logistical issues could not be resolved, however, and the school will no longer be involved with the show in an official capacity. “We have a wonderful relationship with the university and instructors, and we look forward to continuing our collaborations with them in the future,” explains Fleskes. “A May date is preferable for many of our exhibitors and attendees, and the school’s schedule is full in the spring. We also want to hold SFAL5 in a space that is more convenient and inviting for everyone. Accessibility and amenities were both limited at the facility we had originally intended to use, which necessitated reconsidering our plans.”
Several exciting venues in San Francisco are currently under review. The intention is to announce the location and dates and to start taking booth reservations in early May. Spectrum co-founder Arnie Fenner says, “Anyone who attended any of the first four shows in Kansas City knows that, first and foremost, we care about the details of the event and the experiences of exhibitors and attendees alike. In order to do SFAL5 properly—in order to grow the opportunities for the artists and the community as a whole—it is taking us a little extra time to ensure that we get off on the right foot in a new city. Trust me when I say that SFAL5 will only be better with the few additional months we’ll be able to devote to its planning. Cathy, John and I will all be in New York for the awards ceremony on May 7 and look forward to answering any and all questions about the big show—as well as other activities we have planned in the future.
Spectrum: The Best in Contemporary Fantastic Art is the award-winning and internationally renowned art-book annual established in 1993 by Cathy and Arnie Fenner. The contents of each book is determined by a competition that is open to all artists. A jury of peers—different each year—selects the best works from those entered for inclusion in the book and presents awards in eight categories.
The prestigious Museum of American Illustration at the Society of Illustrators in New York City has hosted three exhibitions dedicated to Spectrum, shattering its special-event attendance records. It is a sponsor of “Spectrum Fantastic Art Live,” a yearly convention devoted to creators of all disciplines and sensibilities. Spectrum is published annually by the Santa Cruz-based Flesk Publications and is distributed globally by Publishers Group West.
To learn more about Spectrum, visit www.spectrumfantasticart.com.
Posted by Dan at 7:10 PM
Friday, February 5, 2016
I have been trying out a new painting surface lately, aluminum composite panels. Specifically, I have been using OmegaBond panels. They also come under the name of DiBond from another manufacturer. They are made for signs, constructed of two thin layers of aluminum sandwiched over a polyethylene core. They are made to withstand heat and cold without breaking down and with minimal expansion or contraction. I am starting to see them pop up more and more with artists.
Both the OmegaBond and the DiBond panels have a thin polyester layer on them that can be painted on directly (the DiBond is on one side, the OmegaBond is coated on both sides). When sign companies use them, they will screen on paint over the polyester and it must bond quite well since it has to withstand all kinds of weather conditions. You can also gesso them with oil or acrylic gesso, or adhere canvas or linen to them.
|I brushed on some oil based gesso to add texture and test adhesion|
The Natural Pigments site says the following about preparing the panels.
PREPARING THE PANEL FOR MOUNTING AND PAINTINGI have done some tests with them. Not really all that scientific, or exhaustive, but my initial impression is that they work quite well as painting supports with no real preparation. If you are concerned with the archival nature of them, you will want to test them with your materials to make sure they suit your needs.
Note: Use only the coated side of the panel for painting and mounting.
- Remove the protective film from the coated side slowly and carefully to avoid static build-up.
- Pre-clean the panel surface with ethyl or isopropyl alcohol, using non-colored cloth for best results. It is important not to use solvents, soaps or liquid cleaning materials as they may leave a film residue that can affect adhesion. Additionally, cleaners containing silicone can interfere with adhesion and are not recommended. A 70% solution of isopropyl alcohol is recommended as the only cleaning material.
- Scuff the surface with abrasive paper, preferably using a grain size of 360 grit. Do not grind through the coating to the aluminum metal.
- Remove dust with a lint-free cloth moistened with ethyl or isopropyl alcohol.
|Very smooth surface. No preparation, just painting directly on to polyester surface.|
I have scraped at a few paintings with a palette knife and the paint seems to grip the surface quite well. It can be scraped off, but no easier than on masonite. I have also taken packaging tape and duct tape to a couple dried paintings and ripped it off and no paint came off. Not all that scientific and not a large test base, but it is encouraging so far.
|Rebecca - 8"x10" oil on aluminum panel with oil based primer|
If you are looking for a perfectly smooth surface to work on that is archival and rigid, this might interest you. If you can find a local sign supply company, you can get sheets up to 5' x 10'. You can also find them at a few art supply stores online.
|Stephanie - 11"x14" oil on aluminum panel|
Natural Pigments ACM panels
Lyon Arts Supply
Lastly, here is a time lapse of the painting above for fun:
Thanks for giving this post a read!
Posted by Howard Lyon at 3:00 AM
Thursday, February 4, 2016
By Lauren Panepinto
One of the hardest parts of the job for artists (and art directors) is dealing with legalities. Specifically Contracts & Copyrights. The "Getting You Paid" bootcamp Marc & I give as part of Drawn + Drafted has been one of the most popular (you can download the one-sheet and sample contract here) but there's no way we can cover every question and clause examples in one bootcamp.
So I was thrilled to stumble across (thank you, internet!) this fantastic resource maintained by Columbia Law School: Keep Your Copyrights
Look, I know contracts are scary, and registering your copyrights can seem overwhelming (it's not I swear). And when you have questions about contracts clients give you there needs to be someplace you can go and research.
So start here, and then also check out these other great resources:
Volunteer Lawyers for the Arts
—This is a link to the NYC chapter, but there's chapters in many cities/states that you can find by googling
—Different levels of licenses you can add to your website, to signal to/remind people that they can't just use your art willy nilly.
—Sample contracts specifically for Illustrators
—A good site for educating yourself and to forward people to when they ask you to do spec work. Another good site is the AIGA Official Position on Spec Work
And last but not least, Drawn + Drafted is working on not only taking the Getting You Hired Bootcamp online next, but we're also getting our fantastic lawyers at Kushnirsky Gerber to work on a special Legal Bootcamp in the near future. Sign up for our mailing list at Drawn + Drafted to hear about those projects as they develop.
And if you need a lawyer that understands artists and visual/legal issues, then I could not recommend contacting Kushnirsky Gerber any more highly. Tell them I sent you. (I mean come on, how many lawyers have a cool illustration on their homepage, amirite?)
Wednesday, February 3, 2016
Night scenes are intriguing. The mood, the mystery, and the drama are a setup for more interest, more attention.
It took me a long time before I had the nerve to attempt a night painting. I figured the values alone would defeat me. But eventually I persevered and finally realized that a good night painting is a great lesson in the basics of painting.
It’s much different than doing just a ‘dark’ painting. Painting a nocturne is similar to a scene on stage, with everything controlled by the director. (That would be you.)
Don’t wait to try one. It’s a fantastic way to understand how to use dark colors, how to mix subtle values, and how to use black.
The painting above by Winslow Homer has got to be one of the all-time greatest nocturnes out there. This one single painting influenced my career and changed my portfolio. The blue on the horizon makes the water completely believable. But it’s the wave climbing up across that blue that’s sweet.
I use this Mead Scheaffer in my online classes for composition study, but it’s great for understanding value ranges as well. The guy in the middle, with the staff, is just perfect and holds my attention.
Not all night paintings have to be greyed down. Letting the background of the composition go dark can hold the scene for the light and color to show off. On this cover for Popular Mechanics by Herb Paus, the reflection on the engine cowling is just right.
It’s too easy to suggest that the window light in this piece by Charles Rollo Peters is the passage, but I’m attracted by what supports it, like the slightly warm value of the front steps, or the stroke of flashing on the chimney. The spot that nails it, though, for me, and it’s more of a dot, is the bright star on the upper left.
The Slav Epic by Mucha is a killer series, if you’re not familiar with it. And most of them are 15 to 20 feet wide. They’re gigantic. There are many perfect passages in this piece, but I love the way he’s controlled the value of the drapery running down from the main floating figure.
What in the heck is going on here? I have absolutely no clue, and don’t care. I can just stare at this piece by Sergey Kolesov and be awed. I’m fascinated by the way the spine moves up and bends gently to the right over the creature’s back.
Frank Tenney Johnson was a marvelous western painter, and specialized in night scenes on the range. This is one of many similar scenes. He had horse anatomy down solid, like the rear ankles here. The perfect passage is where the light rolls over the horse's shoulder, casting the shadow from his boot.
Ending with a grand nocturne from NC Wyeth for Kidnapped, "The Wreck of the Covenant." I like the fear and loneliness this painting projects. I fell the ship moving away. The moonlight that hits the sails is...perfect.
Posted by Gregory Manchess at 8:00 AM
Tuesday, February 2, 2016
By Justin Gerard
I don't know about you, but it seems that life gets crazy after the holidays. We just barely got everything cleaned up from that crazy party, and now we are all back to work juggling projects and putting out fires and starting fires and managing the day to day chaos of our lives.
In times like this I like to consider the trees. And today I'd like to share the work of one artist in particular whose paintings of trees are a long meditation in tranquility and calm. And I don't mean the saccharine, sentimental dewdrops-on-a-thorny-rose type of artificial calm, but the genuine calm of being a kid again and feeling a warm summer breeze on your face and the soft brush of cool grass under your bare feet.
These quietly awesome trees are the work of Ivan Shishkin, a Russian painter from the 19th century working at the same time that Albert Beirstadt and Thomas Moran were in America. While the American landscape painters more often chose rocks and light in tumultuous, gigantic grandeur for their subjects, Shishkin chose simple trees, where he could study the play of light on a small scale. His landscapes make the common wonderful.
I cannot help but be a fan of both of these schools, but when life gets hectic Shishkin's paintings of trees are some of the most tranquil and serene images I could ever ask for.