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.
That is an ingenious rig. I’m wondering if the leg brace would also rest on the ground should she decide to work seated. I’m also surprised at the large studio size palette she is using for plein-air. Amazing!
Once again, thanks for the introduction to an artist who would otherwise fly below my radar. Reading Anna’s Wikipedia biography, she seems to have been a remarkable person. I have a feeling she was fun and interesting to be with.
Looks like there is a sheet behind her to bounce light onto the painting? Or perhaps she just set up in front of it coincidentally. Would that change the light quality falling onto her painting vs that of her subject in the environment?
Tyler, I just assumed she put that sheet there as a backdrop to make the silhouette clearer in the photo. Taking a photo was a bigger deal for folks back then than it is for us, and she may have wanted to clearly document her setup.
To Tyler J Perhaps that sheet would serve an important purpose in sending bounce light to her canvas making it easier to see against the brightness of the snow scene in front of her. I've had trouble adjusting my eyes trying to paint outdoors with the canvas in shadow.
7 comments:
That is an ingenious rig. I’m wondering if the leg brace would also rest on the ground should she decide to work seated. I’m also surprised at the large studio size palette she is using for plein-air. Amazing!
Brilliance!
Once again, thanks for the introduction to an artist who would otherwise fly below my radar. Reading Anna’s Wikipedia biography, she seems to have been a remarkable person. I have a feeling she was fun and interesting to be with.
LOVE her inventions!
Looks like there is a sheet behind her to bounce light onto the painting? Or perhaps she just set up in front of it coincidentally. Would that change the light quality falling onto her painting vs that of her subject in the environment?
Tyler, I just assumed she put that sheet there as a backdrop to make the silhouette clearer in the photo. Taking a photo was a bigger deal for folks back then than it is for us, and she may have wanted to clearly document her setup.
To Tyler J Perhaps that sheet would serve an important purpose in sending bounce light to her canvas making it easier to see against the brightness of the snow scene in front of her. I've had trouble adjusting my eyes trying to paint outdoors with the canvas in shadow.
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