In this blog I'll share what I have learned over the years about drawing and painting. My processes creating illustrations, visual development and concept art. I'll share thoughts, techniques and ideas that have worked for me in my career as an illustrator. I hope they inspire , and work for you too!

zaterdag 2 mei 2015

Portricature

From a young age I have been fascinated by the art of caricature. In art school caricatures were looked at as low art, and I wasn’t allowed to create caricatures there. 
After school I got paid to do caricatures for magazines and newspapers. 
Although I have always disagreed with the teachers who told me caricatures were not ‘real’ art, it is amazing how much impact their response had to how I looked at caricatures. After a while I even stopped drawing caricatures at all, because I felt I wouldn’t be taken seriously as an artist.

When I realised I started to have the same viewpoint on caricatures as the people who forbid me to draw them in art school, I realised something had gone very wrong. I started looking at the work of the people whose work had inspired me for so long. Caricaturists, like C.F.PaynePaul van der Steen , David Levine, Natalie Ascencios but also painters from long ago. Then I realised there is no such thing as high art and low art. A portrait artist looks at his subject and decides what he wants to express. he chooses what he wants to emphasise, wether it is shapes, colors, textures, attitude… A painter exaggerates. he makes you look at the subject like he does, by showing this to you with his painting. Over time painters have done many portraits in many different ways.
Some of the portraits that are considered ‘high art’ by some, are not much different than how I would have loved to paint a caricature in art school

X

I always like seeing the same subject painted by different artists. Very interesting to see what the artist chooses to focus on, and how he wants to tell his story. These are both portraits of Mme Pierre Gautreau. 
Left: John Singer Sargent, Madame X (Madame Pierre Gautreau) (1883-1884), Metropolitan Museum of Art, New York, oil on canvas, 208.6 x 109.9cm
Right: Gustave Courtois, Madame Gautreau (1891), Musée d'Orsay, Paris, oil on canvas, 62.01 x 58.5cm

Dean Cornwell


James Gurney: Imaginative realism:http://www.amazon.com/Imaginative-Realism-Paint-Doesnt-Exist/dp/0740785508

Norman Rockwell

High res verion of the painting can be found here:https://www.google.com/culturalinstitute/asset-viewer/fishing-trip-they-ll-be-coming-back-next-week/ZQGS3jWsjWsXqA?hl=nl&projectId=art-project

The Daughters of Edward Darley Boit



I love looking at art, I love great stories. I thought it would be nice to share some art and show what it is I like about it. In this painting: The Daughters of Edward Darley Boit, by John Singer Sargent, we see a family portrait. Although the way the girls pose may look coincidental, it was all planned. If we look at the way Sargent places color accents, lines, light and color choices, it becomes clear that he is in charge of what he wants to show us. I love the way the girl on the left is framed, as if it is a picture within the picture. The White dresses stand out in the dark colors he used. A beautiful example of storytelling.

woensdag 2 april 2014

Anatomy




I've been working on my anatomy lately. Here some pages from my sketchbook. I hope it helps.

donderdag 20 maart 2014

Translating what you see into what you paint

To me painting is not just copying reality. You can even ask yourself if there is a true reality, because maybe we all perceive the things we see hear and feel differently.
With that in mind, I try to think of painting as putting my personal impression on the canvas, rather than trying to copy reality.
This goes for painting from life, but also when I am constructing a composition for an illustration.
Studying perspective, color, light, anatomy, using different media all help to be able to translate your experience to marks on the canvas, that, hopefully, communicates my concept to the viewer.

I added some examples of some works of great artists and how they use their references. None of them just copies what's in front of them. They use it to absorb as much information about their subject as they can, in order to create their personal version of it.


Monet:


Norman Rockwell:










  Gil Elvgren:







Steve Huston:


 Tom Fluharty:





Marc Dalessio:


Gregory Manchess:


James Gurney: