This weblog by Dinotopia creator James Gurney is for illustrators, plein-air painters, sketchers, comic artists, animators, art students, and writers. You'll find practical studio tips, insights into the making of the Dinotopia books, and first-hand reports from art schools and museums.
You can write me at: James Gurney PO Box 693 Rhinebeck, NY 12572
or by email: gurneyjourney (at) gmail.com Sorry, I can't give personal art advice or portfolio reviews. If you can, it's best to ask art questions in the blog comments.
Permissions
All images and text are copyright 2020 James Gurney and/or their respective owners. Dinotopia is a registered trademark of James Gurney. For use of text or images in traditional print media or for any commercial licensing rights, please email me for permission.
However, you can quote images or text without asking permission on your educational or non-commercial blog, website, or Facebook page as long as you give me credit and provide a link back. Students and teachers can also quote images or text for their non-commercial school activity. It's also OK to do an artistic copy of my paintings as a study exercise without asking permission.
Vonnegut's second fairy tale and his real life graphs start and end the same way -- neutral at the start, a little better than that at the end. Very optimistic.
Hello!i'm a HigtschoolStudent from Japan. I'm a hardcore fan of your dinotopia book.And I love you your pictures!And I want to become an artest,sencie I read your book I was serching how to contact you.and I found your blog! i am not good at english so maybe I write down things hard to understand..well at that time please forgive me.
Thank you Tsuji, that is so nice of you to comment. Have you seen the Japanese editions of my art instruction books, Imaginative Realism and Color and Light? Your English is good!
I lLike the use of white. That is interesting as so few artist use white as a glaze, that is to achieve the effect of a misty day or the blush on a persimmon or a plum. as with watercolor you have to have just the right amount of pigment on the brush for it to work, that is look real.
13 comments:
Wonderful, James!!
Sorry, but I don't see very well the lights of semafor! :)
This is very educational content and written well for a change. It's nice to see some people still understand how to produce a quality post!
Thank you, Wouter.
Scorchfield, you're right! And if the drivers can't see them either, something dreadful might happen in Bridgewater.
Christin, Thanks. Well-written educational high-quality posts are my specialty.
Something DID happen: you immortalized that moment!
It is interesting to cover the left, sunlit side of that
house with your finger, as it is the key spot that tells you the direction of light.
i know exactly where this is! its such a small world.
Love the soft, pearlesque light.
I've heard that gouache can flake or crack over time; has this ever been a concern?
Laura, I suppose if it was caked on really thick it could, but this is quite thin.
Commodore: That's one of the things that amazes me about the internet. Nothing is obscure.
John, I'm glad you noticed that. It's the only pure white in the scene.
I completely disagree with your assertion. Something special is always happening when James Gurney is painting in his sketchbook.
Vonnegut's second fairy tale and his real life graphs start and end the same way -- neutral at the start, a little better than that at the end. Very optimistic.
Hello!i'm a HigtschoolStudent from Japan. I'm a hardcore fan of your dinotopia book.And I love you your pictures!And I want to become an artest,sencie I read your book
I was serching how to contact you.and I found your blog!
i am not good at english so maybe I write down things hard to understand..well at that time please forgive me.
Anyway!nice picture!!
Thank you Tsuji, that is so nice of you to comment. Have you seen the Japanese editions of my art instruction books, Imaginative Realism and Color and Light? Your English is good!
I lLike the use of white. That is interesting as so few artist use white as a glaze, that is to achieve the effect of a misty day or the blush on a persimmon or a plum. as with watercolor you have to have just the right amount of pigment on the brush for it to work, that is look real.
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