Thursday, November 26, 2015

SCAD Atlanta makes Scroobius Pips

On this Thanksgiving day, I'd like to give thanks to all the dedicated teachers out there who give their time to inspiring students in art schools. One of those teachers is SCAD Atlanta instructor Rick LovellOn his blog, he says:

"Two classes worked on the Scroobious Pip project this fall quarter. The project was inspired by two different things; James Gurney's video demo called "How I Paint Dinosaurs", and a silly poem by Edward Lear called "The Scroobious Pip," a nonsense story about an animal that is a little of everything."

Scroobius Pip maquette by Sally Geng
"The students created their version of the Scroobious Pip in polymer clay; it begins with a wire armature, is bulked out with aluminum foil, is covered in Super Sculpey, sculpted, baked and finally painted."

Scroobius Pip illustration by Sally Geng
"The maquette is lit and photographed and is used as a model for a finished illustration that tells a bit of a story about each Pip."

Scroobius Pips on the SCAD Illustration blog

Happy Thanksgiving, everyone!

Wednesday, November 25, 2015

Warm vs. Cold

With the thermometer dropping, it's getting a little chilly to paint outdoors.
In this little 4x4 inch gouache study I was thinking about warm vs. cold in terms of color temperature, too. The fading warm sunlight only partially melts into the icebergs of the buildings. 

I'm using three colors plus white here: Prussian blue, burnt sienna, and cadmium yellow.

On a different topic, blog reader Jim Douglas asked:
"After following your creative habits for years now I've gleaned you often make a sketch study of a subject then move on to a new subject to make a fresh start. New sketchbook page, new subject. Sketches, especially ones as excellent as yours, can certainly stand on their own as works of art, but do you ever have the urge to develop a sketch and produce a larger scale work based on it? I've only known you to develop sketches into a larger piece of artwork as part of a commission, and I'm curious to know if you ever follow that rhythm when making art for yourself." 

Jim, thanks for the compliment and question. As you say, my sketchbooks are very much an end in themselves, a way of seeing and sharing the world. I'm not doing those paintings to sell, and am making a living in other ways. The benefit of keeping the paintings bound together in sequence in a sketchbook offsets the limitation of not being able to frame them individually on the wall. 

At the same time my sketchbook paintings (maybe I should call them "studies" rather than "sketches") are valuable to me as a means to at least three other goals. One, of course is video production. The instructional documentaries are one of my primary creative outlets at the moment and an important source of income. I'm also looking into ways of publishing those sketchbooks both digitally and physically. And, of course, I do use my sketchbooks as reference when doing studio work. 

And finally, it's funny you should ask about larger scale works, because I just completed two larger separate paintings that will be the subject of the next video. I haven't really shared those images on the blog yet. They're both concept art pieces created entirely on location. Compared to the little sketchbook pages, 11x14" and 12x16" seemed huge. The new video is in voiceover and final edit and will be released in a few weeks.

Tuesday, November 24, 2015

Portrait of a Theorbo Player

It's not every day that you get to paint a theorbo, which is sort of a lute on steroids.

When I heard that theorbo specialist Simon Martyn-Ellis would be playing in Poughkeepsie, I made sure to get a seat in the front row.
I used watercolor pencils to outline the shapes. I painted the black areas with two water brushes, one filled with water and the other filled with dark gray water-soluble ink. I had all those tools ready in the left hand before the concert started so I wouldn't have to reach in my bag or move too much.

During intermission I painted the background and the skin tones with gouache and did the lettering with a fountain pen, then spent the second half of the concert finishing the details. 

"Soldier Playing the Theorbo" by Meissonier, oil on wood
8.5 x 11.5 inches, in the Met's collection, but not on view
In the back of my mind was this small study by Ernest Meissonier, where I first became aware of the theorbo.
Previous posts on sketching at concerts:
The Orchestra Now
James Bagwell Conducts
Maestro Bagwell
James Bagwell at a Rehearsal
The "Flash-Glance" Method
Gouache portrait of an Irish whistle player
Sketching a vocal concert  
Violinist in ink wash
Horn Player
Mirko Listening
Club Passim Gig
Shapewelding Sketching 
The Cello and the Pencil
Mass in C
Handel's Messiah
GurneyJourney YouTube channel
My Public Facebook page
GurneyJourney on Pinterest
JamesGurney Art on Instagram
@GurneyJourney on Twitter

Monday, November 23, 2015

Renaissance Recorder / The Third Panel

My wife Jeanette joined a Renaissance band. She got her old recorders out of a closet and is putting new corks in the joints.

For me, that will mean the chance to paint the musicians when they practice. This one is in gouache.

Thirty five years ago, she was associated with a group called "The Third Panel." The name jokingly refers to the right hand section of a triptych called Garden of Earthly Delights by Hieronymus Bosch more than 500 years ago.

The painting shows a musician's hell. Some of the tortured souls are shown crucified on the harp and lute, and a choir sings from a musical score written on a pair of buttocks.

According to Wikipedia, "Musical instruments often carried erotic connotations in works of art of the period, and lust was referred to in moralizing sources as the "music of the flesh". There has also been the view that Bosch's use of music here might be a rebuke against traveling minstrels, often thought of as purveyors of bawdy song and verse."

Here's a sample of some Renaissance music played by masterfully by the Praetorius Consort. (Link to YouTube)
Wikipedia: Garden of Earthly Delights
GurneyJourney YouTube channel
My Public Facebook page
GurneyJourney on Pinterest
JamesGurney Art on Instagram
@GurneyJourney on Twitter

Sunday, November 22, 2015

Transparents and Opaques in Mixtures

The folks at Vasari put together this video showing what happens to cadmium yellow lemon (opaque) and Indian yellow (transparent) when you mix them with reds and whites. The factor of transparency greatly affects the value and chroma of the mixtures (Link to YouTube).

If you want to make such tests yourself, you can use a palette knife on glass with a black backing, or you can mix them in the form of a chart in a canvas paper pad.
Vasari oil colors
Color and Light: A Guide for the Realist Painter

Saturday, November 21, 2015

Computers are learning to caption photos

For decades, one of the apparently insurmountable challenges in artificial intelligence was getting a machine to see.

 Caption:  “A person riding a motorcycle on a dirt road.”  Source: Io9
In order to approach the human capabilities of vision, a computer must be able to distinguish objects from their surroundings in a wide range of environments, even if those objects are partially obscured or shadowed, or turned in weird angles.

On top of that, a computer must be able to sort out the salient features of that object and identify what it is—what category it belongs to. Even more difficult is the ability to explain the relationship between objects—what's going on. Finally, in order to create a caption for an image, the computer also needs to be able to translate its understanding into natural sounding language.

 Caption: “Two pizzas sitting on top of a stove top oven.” Source: Io9
Can computers do it? They already have. The caption on the images above was generated a year ago by a computer, not by a human. The human caption for the picture above was “Three different types of pizza on top of a stove.”

The human's answer is better because he or she recognized that there were three different kinds of pizza, and that the pizzas were resting on a stove, not a "stove top oven."

At this stage, computers don't always get the captions right, and it's fascinating to see how they get it wrong. For example, the computer mistakenly believed the child in the knitted hat was blowing bubbles.

The problem all along with developing computer vision was that programmers were trying to solve it top-down by telling the computer what it needed to do. Part of the solution has been a bottom-up approach using deep learning to allow the computer to rapidly improve its performance.

Google has been at the forefront of this research, and here's a link to one of their research papers about how they're getting their computers to auto-caption photos. The process involves not only their object-recognition capability, which they've already had for a few years, but also a syntactic ability that's closely related to their language translation software.

Computer vision presents us with some immediate potential benefits: artificial systems will be able to help blind people, assist in manufacturing, and drive us around safely in cars.

But artificial intelligence in its darker potential manifestations presents an existential threat to humans, outlined in a current article "The Doomsday Invention" in the New Yorker, and in this TED talk (link to YouTube)
Computer vision on Wikipedia