Sunday, April 26, 2015

Marc Davis Painting

Well, here's a painting from the Pirates of the Caribbean Ride done by Disney artist Marc Davis.  I first saw it in a View Master reel as a boy and looked for it when I finally got to go on the ride.   It was right where it should be over the bar.  This painting is currently my screen saver.


Tuesday, April 14, 2015

The Amazing in Nature

How wonderful to see the complex weave of life!  Things that seem beyond probability are made real, and the mind expands a little bigger to embrace new possibilities. Pardon me for waxing poetic but these photos of the amazing creature Glaucus Atlanticus look like something from the terrible mind and agile hand of artist Jim Woodring!  If you are unfamiliar with Jim's candy colored dreamworld, you should check it out here: http://www.jimwoodring.com/artwork/gallery

Wednesday, April 08, 2015

Oil Portraiture Price List

Sprinkled throughout this blog are oil portraits I've done, and I considered putting together a brochure to see if there might be some interest. Well, here it is, my price list for portraiture. After doing a lot of price comparisons with other artists, figuring in the cost of shipping and materials, I think this is a pretty good value.

To clarify what I hope the brochure says, I will work off your favorite photos, or do a photo shoot depending on your location. I can work off good quality digital images, if you choose, or scan hard copies you send, and return the originals after scanning.

Please call or email using the provided info, if interested, and we can set up a consultation. There is a payment of half down/half on delivery to ensure the cost of materials, and shipping and handling after completion. I estimate a four to six week turnaround to do the actual painting once images and other considerations have been met. If complications arise, you will be notified. Other considerations are covered in a contract for both of our satisfaction. I'm excited about creating for someone a family treasure and personal heirloom.

 Better quality pictures can be found here: https://www.flickr.com/photos/29289570@N00/

CLICK ON IMAGE TO ENLARGE

Thursday, April 02, 2015

Mike Hill

I just discovered the hyper real sculptures of Mike Hill. He's been paying tribute to some of our legendary monsters and monster makers like this charming image of stop-motion pioneer Ray Harryhausen teased by his warring skeletons from Jason and the Argonauts.  Incredible, aren't they?
Ray and his skeletons

Detail of Ray Harryhausen

Dr. Pretorius showing off more of Mikes work

Mike with his Margaret Hamilton

The Wolfman

Friday, March 13, 2015

Beach Boys and Brinkerhoffs

 Well, life is full of surprises and I ran across one quite unexpectedly.  While telling a friend about "Pet Sounds", a revolutionary record by Brian Wilson of The Beach Boys which inspired the Beatles to do  Sgt. Pepper's Lonely Hearts Club Band, I saw this video clip on YouTube.  What leaped out at me was the black & white image of the recording session showing an upside down logo on a piano.  It looked familiar to me, and flipping the image confirmed that it was in fact a Brinkerhoff piano Brian was playing.

I've mentioned in an earlier post called "Self Indulgence" about the impact the Brinkerhoff clan has made from barbed wire, to pianos.  And now we can claim inspiration for the classic "Wouldn't it be Nice" if we stretch the fabric of logic far enough.

I wonder if I'm entitled to any royalties?


   

Monday, March 02, 2015

Oil Portraiture

Here's a new painting of a great couple who have become family.  This is a 20 x 24 inch canvas, the largest I've done to date.

Sunday, February 22, 2015

Stop Motion in the Digital Age #04

In earlier postings we touched on replacement animation used in stop-motions history, and facial animation  replacements as early as 1935.  We also tracked the replacement evolution with computer sculptures exported as 3D prints being used as early as 2004.

My friend Raphael Cordero ,(whose studio did the sculpture, molds, and castings), posted some images that helps define a timeline for the facial replacements evolution even better with these hand cast test pieces for the 2001 production of the Will Vinton TV series "Gary and Mike", a production that has greater relevance with the digital age, which I will explain later.  These were hand sculpted, using a frame grabber, (see previous post Claymation, Techniques and Innovations ), to ensure registration, and then cast in resin.  The faces were split through the eyes and held on the head with interlocking magnets.

It must be remembered that the 1993 production of "The Nightmare Before Christmas" used both facial replacements and a stored image/live image form of frame grabber. The G&M faces were the first to split the face into two pieces.

These G&M replacements precede Laika's "Corline" which used the same split face and magnetic registration, by eight years.  The difference here being these were hand sculpted and cast replacements, as opposed to computer sculptures exported as 3D prints. 

I'm not sure why this technique wasn't used in the actual production, which went with wax replacement mouths, (I feel it may have been too expensive), but the craftsmanship is astounding and the seam on the face is almost invisible, at least in this still image.

As have been stated before, the computer allows the ability to do more easing into and out of facial extremes, making smoother animation with less chatter, and a way of previewing and modifying before exporting to hard print copies.

 "Gary and Mike" has the distinction of being the first stop motion production to be done digitally. Before then, it was customary for animation to be shot on film and then transferred to video.  This bypassed that method using small lip stick sized digital cameras placed on sets and a custom made data storage system was built to accommodate all the digital still images that made up the action.

The initial cost was hoped to be made back by avoiding film development, and film to tape transfer expenses. It was quite an undertaking for the time, and because of being digital, effects work and other elements could be combined without a film to tape transfer.

The infrastructure for the Will Vinton digital pipeline used for "Gary and Mike" in 2001, created a template for much of the feature work being done today.

Test head replacements for "Gary and Mike" from the Raphael Cordero Studio