Monday, November 25, 2013
I wish you all a Thanksgiving full of love, the community of family and friends, and "cake upon the table."
Wednesday, November 20, 2013
Monday, November 18, 2013
Then a good friend introduced me to Disney films like Snow White. (No, I never saw these films until I was an adult---but that's another blog post.)
Tenggren was a major contributor to these films, creating huge amounts of artwork, and of ideas (though he was never credited at the time). I was stunned by the visual power and beauty of these films, particularly the backgrounds and scene settings.
Monday, November 11, 2013
The American Booksellers Foundation for Free Expression will be hosting its annual holiday auction of art from children's books later this month. The auction begins November 26 and ends December 2 (https://abffe.site-ym.com). Proceeds from the auction go towards support of ABFFE's programming and advocacy work. This is your chance to purchase art by some of today's finestillustrators of books for children, while supporting a worthy cause. My donation will be the art that I created as a demo for my previous blog THE 3-COLOR PALETTE. (Blogger will not let me add the link here, but you can find the post on the Blog Archive list at the right.) I can't think of a better use for this little piece than to ask it to help out with the ABFFE'S efforts.
Tuesday, November 5, 2013
I've been emphasizing that one does not need a huge palette in order to achieve a variety of results. (See my earlier posts on this topic: http://thewendywatsonblog.blogspot.com/2013/10/my-palette.html, http://thewendywatsonblog.blogspot.com/2013/10/my-palette-continued.html) I was reminded of an exercise that my grandfather Ernest W. Watson suggested in his book ERNEST W. WATSON'S SKETCH DIARY: try painting with a palette of just 3 colors. I chose yellow ochre, light red, and Winsor blue as my palette for this demonstration.
In this version, the 3 colors are again of fairly equal importance, but the overall effect is rather different from the first example.
In this example, the blue is clearly the dominant color, and there are only bare touches of the red and yellow. But again, the effect does not feel "limited". You will notice that all 3 of these images do consistently "go together" in the sense of feeling as though they are from the same pictorial family. This is one of the huge boosts the illustrator receives when using a limited palette. A limited palette almost automatically produces art that is consistent throughout a book or project. And once again, in this post I'm preaching my strong belief that the artist does not need a huge array of materials in order to produce beautiful work. Instead, I suggest that the artist choose carefully a small arsenal of high-quality tools, and then learn through trial and error how to get the absolute most out of each one of them.