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- Lena

Norman Lindsay

Norman Lindsay ( 22 February 1879 –  21 November 1969) is one of the artists that inspired Roy Krenkel and Frank Frazetta. Lindsay’s bawdy portrayal of myth and pagan beliefs fueled his art and created controversy in his time. Some of his work was removed from a train wreck in route to an exhibition and burned by over zealous censors who deemed it pornographic. Yes - that happened here in the States. Although mild by today's standards his unique personal vision is contagious in it’s free exploration of the primitive animal drive and pagan eroticism. He worked in a variety of mediums including sculpture and was also an accomplished writer and illustrator.



If you get a chance - rent the movie “Sirens” which is based on the life of Norman Lindsay. Don’t watch the censored version on television because it changes and skews the actual meaning of the film. The movie stars Hugh Grant, Sam Neil and a bevy of super models. A great film score by Rachel Portman (Cider House Rules). and... the movie poster absolutely sucks. Why didn’t they use one of Norman’s paintings?



There is also a museum dedicated to his work in Australia. The museum is located on the grounds of his estate and home in Faulconbridge, New South Wales in the Blue Mountains National Park region.







Wiki Link

Norman Lindsay Bio

Norman Lindsay Museum and Gallery



Here is a small sampling of Mr. Lindsey’s work:

Illustration Master Class 2012

The Illustration Master Class for 2012, is now open for enrollment!



I must honestly get asked a hundred times a year what the best workshops and conventions are for an aspiring illustrator to attend. Without fail, the first letters out of my mouth are always I...M...C. And although I do think everyone would benefit from the class, not everyone can go. As a means of assuring quality instruction, the class size is very limited... usually capping off well below 100 people.



Enrollment for the 2012 class just opened a few days ago, and IMC founder, Rebecca Guay, told me on Friday that it is already filling up WAY faster than previous years. To give you a rough idea, the June 2011 class was booked up by Christmas.



Some of the guest instructors have already been announced, and it looks like it is again going to be a sensational year. So if you've been debating going, I implore you to go over to the IMC website right now, and reserve your spot. There is also a discount for early enrollment!

Death Dealer commission

by Petar Meseldzija

A few weeks ago I posted a series of entries on my blog that were showing the progress of a recent commission. Each time I did a sketch, or a preliminary drawing, I posted it so that the people who visited my blog could follow the developments. For all of you who are not aware of the existence of these posts, I have put together all of the entries previously posted on my blog.

----------------------------

Day 1

For you who are anxious to know what is going on on my drawing table, I decided to post a series of entries that will follow the development of a commission I am working on at this very moment. It is a Frazetta’s Death Dealer drawing commission, inspiring on one hand, intimidating on the other. I find myself on the Master Frazetta’s grounds. This is enough to give me a feeling of inadequacy, which is not a very good  mental state to start a commission with. However, in the next couple of days I will try not to embarrass myself and hopefully produce something that will do justice to this famous character and his creator.

At the same time I am offering you for the first time a seat in the front row and hope that you will enjoy the show, although at the moment I do not know what kind of show you are about to see; an embarrassing  comedy, a disappointing horror or an inspiring adventure story. Well, we shall see…

This is the first rough thumbnail drawn quickly on an envelope.

The next quick thumbnail made with pencils on a proper sheet of paper.

First two rough sketches based on the thumbnails. The idea about the future composition starts to develop itself and the more concrete forms start to appear.

Apart from a few reference images of Death Dealer, this is the only reference that I use at this stage. It is a drawing of an athlete that I did some years ago. It helps me focus on the anatomy and the movement.

Day 2

Yesterday I did the further study of the character and tried to explore the possibilities of the chosen pose. I intentionally left out the remaining compositional elements in order to focus on the Death Dealer only, and to squeeze out the maximum of the dynamic movement from this relatively static pose. This is the big trick and the most important objective of this composition, and I am not yet done with it.

Day 3

Here is another version of the same pose. And I’m still searching…

Day 4

Yet another attempt to get the right posture, with just the right amount of explosiveness. Not too much, not too little... And although I liked the subtlety of the pencil work of this drawing, I had to abandon it because it still did not feel right. 

Day 5

I think I GOT it right this time…This evening, while waiting for my diner to be ready, I did this little sketch. Although I gave myself free today, I could not forget about the drawing and I kept seeing Death Dealer in my mind. One of these inner pictures showed me the way…However, I think I should wait until tomorrow morning, for the morning is wiser than the evening, in order to see whether I actually have captured the right movement, or not…If yes, the rest of the drawing shouldn’t be a problem… I think…

A-

 B-

Day 6

Well, I don’t like Monday. You never know what Monday is going to bring you. Last Monday brought me this sketch which, as a composition, is embarrassingly close to Frazetta’s Death Dealer 2 painting.

I could not resist the temptation and had to try my inferior hand on this iconic pose.

Day 7

Due to a very urgent business I had to abandon the Death Dealer commission for a few days. But today around noon, when nobody was watching, I went to my studio and did another quick sketch…

Day 8

Yesterday I received this interesting email and I thought you might want to read it…

-----------------

Hi Petar,



You don't know me. I'm Henrik Pettersson (carnalizer on the internet). I've been watching your Death Dealer sketches closely as I'm a fan of both you and Frank. I have no idea if you feel you need or want feedback, but I just wanted to show what I thought was "not so Frazetta" about you sketches. They are awesome in their own right and if anyone can pull of a good FF these days it's you.



Here goes. Sorry about the abuse of you sketch. First is how I perceive your Death Dealer sketch(es), second is how I feel FF got it.

I'm sure you are aware. I can sense you're after a very specific moment of tension. The pose is good and the anatomy fantastic, but I don't think it's what Frank would have chosen.



Please don't be offended by my mail. It is in utmost well-meaning.



Best regards,

Henrik Pettersson

Day 9

Today I have tried to put all the elements together, and although the composition is not yet entirely to my liking, I hope that this will be the last preliminary drawing.

Day 10

(Com)mission completed!

Afterword

While I was working on the Death Dealer commission many people were reacting on the posted sketches. Some comments were positive and encouraging, other were critical about one or another aspect of the sketch and often very much attached to the personal taste of the commentator in question. Nevertheless, all of them were useful in one or another way and they contained an important lesson.

While the work on this commission was going on, I decided not to react to the comments because:

Firstly, I did not know how this commission will turn out (the possibility of a failure was hanging above my head, and I think I was the only one who was absolutely not sure about the outcome of this commission. I think most of the people who left a comment where sure that the final result will be “fantastic”. I wish I had the same amount of optimism about my own work as they did).

Secondly, I was hoping that the posted sketches, and the final drawing, would give the best answer to most of the questions and comments.

All in all, this was a very useful experiment and a great experience. Apart from the insights that I have gained about the way others perceive us and our creations, as well as becoming more aware of my own faults, the most important conclusions of this commission were the following two things:

Am I satisfied with my own work? Did I achieve my own objectives?

And, is the client pleased with the results?

Well, having in mind that I was drawing somebody else’s character and have been “visiting” somebody else’s world, I must say that I am satisfied, although I realize that there are a few things that I could have done better.

As for the client ( in this case it is Gregg Spatz from the US, an art collector with great passion for art and a sophisticated taste), upon seeing the final drawing he wrote to me: “…the drawing is exactly what I had expected from you and maybe even more…”.

At the end I would like to point out an important thing. Because Death Dealer is  a famous Frazetta character, some people expected me to approach the drawing as Frazetta would do.  My Death Dealer drawing is in fact an homage to the Master, rather than a copy of his character. I am not (and don’t want to be) an epigone of another artist. I am an independent creator with his own vision, and his own abilities.

I think it is better to be a lesser-Meseldzija, that a lesser-Frazetta. One Frazetta in this world is more than enough. What we need ( generally speaking) are new visions, new approaches, new roads that will lead us to Rome, so to speak.

Have a great day!

The guy behind the Guy behind the Mask

by Eric Fortune

Fawkes that is. You may recognize this infamous visage. Recent events have led me to re-watch the movie "V for Vendetta". And to my surprise I had completely forgotten it was based on a graphic novel written by Alan Moore and illustrated by David Lloyd (pictured below). Lloyd, who illustrated in cinematic chiaroscuro, devised V's Guy Fawkes-inspired appearance.









It appears Guy Fawkes, also known as Guido Fawkes (did not know that), was part of a failed attempt at blowing up The House of Lords in 1605. Fawkes is shown here, third from the right, in this engraving by Crispijn van de Passe. Truly, the mask design could easily be anyone one of the conspirators.



I would like to offer a big "Thank You, Mr. Lloyd", it is quite the bad ass design. And to Mr. Moore as well for the amazingly insightful story. I went out and bought the graphic novel today. Hoping to be inspired. One could only wish to invigorate the masses with his/her creativity in such a way.

Portraiture

by Donato

One of my favorite genres is the portrait.



When I look back at the art through history and assess the works that resonate with me today, one characteristic I find running through as a unifying thread is the portrayal of people, real people, engaged in tragedies, heroics or tasks which underscore their humanity. Gone are the caricatures, cliches, and excesses which speak to a turning fad. These popular art forms all have their place, certainly, as relevant commentary on events swirling about us in the here and now. But what I am interested in is how a work speaks to the future’s children - images, when isolated from artistic intent and cultural crutches, you can point to and state, 'That is a timeless work of art.'



It is no easy task to create such work, let along identify universal themes which constitute these images. But there is one aspect which has filtered these traits - time. And it is precisely for that reason I tap museums so often to study what went 'right' for those works of art found there. I am not fascinated by museum art purely for its age nor nostalgic quality, but rather why has it been revered for so long. Why this work of art and not another (besides surviving the wars, fires and deteriorations of time)? This comprehension and its subsequent reconfiguration it is one of the most difficult issues I address in my paintings.



How to tap into the humanistic undercurrent without reverting to cliches, historical mimicry, or creating a work too 'bland' and culturally and artistically irrelevant is an immense struggle. This proves a greater challenge especially when you are called upon to deliver timely, hip, and fad-like art for the commercial market place! It sets my head to spinning, but as always, I love the challenge.

It is not that I wish to make a piece 'timeless', but rather it is my desire to make a work of art which is not esoterically 'crutched' so that some arcane form of understanding is required for its enjoyment. Far to often we are call to read a ‘program’ to understand the content of a work of art. I rate this as a failing of the artist. How will someone outside this program come to understand the work, someone culturally different, speaking another language, or unknowing of the program’s references? I feel the work must address these issues by itself, contain its own internal truths, even if those truths lead to no certain conclusion. That is what makes art great for me- its ability to stand apart from nearly all references.



But how do you make a work of art seemingly stripped of all specific references? to resolve this conundrum, I twist the specificity from that of the details of the references into a focus upon the emotional content. By drawing upon emotion and human to human interactions I attempt to illuminate content which cuts through cultural barriers like a hot knife - sadness, joy, curiosity, friendship, mourning- these are experiences all humans have albeit cloaked in various cultural guises. The heart of my work at this stage in my career is driven by story and the internal motivations of my characters. Much like an actor playing a role, I want to know why my characters are making their decisions so that I can portray those motivations in the paintings. I do not want to just show who they are, but rather I want to reveal who they are from the inside out.



It is for this reason I prefer to let a commission's content sink in as long as possible before I generate sketches and ideas for its resolution. By reading the treatment for the commission, and then distancing myself from the details, I attempt to let the basic character and narrative traits emerge in the space between. This time lapse allows my own life experiences to infiltrate the story and sway the content towards my personalized view of the world. The content becomes part mine and part that of the clients. The longer I can stretch the treatment to sketch phase, the more the extraneous details (as I see them) get strained away, and the more the work becomes a project I get excited about.



My goal is to create paintings I could hang on the walls of my own home. If I have been successful in that pursuit, then I am a contented artist.

Did you know?

Did you know you can view month's worth of old posts on Muddy Colors at a single glance, simply by using this url? http://muddycolors.blogspot.com/view/flipcard

See what you've been missing!