Walk Like You: Phil Hale
Phil Hale, who I've found sort of adjacent to Ashley Wood, making beautiful paintings sometimes for comics. Incredible dynamic action, color and compositions. Beautiful stuff.
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Walk Like You: Sachin Teng
Sachin Teng has a striking ability to take these (usually warm) limited palletes, quality draftsmanship and very unique ideas and make them take form. Slicing through figures, symbology, graphic overlays and lush painting all in one place. And he animates as well. Amazing.
Walk Like You: Samuel Yeon
Samuel Yeon has, like many of these artists, a very graphic angular style. Amazing colors as well. And digital work that looks maybe more rich than real media but very true to tradional art media. I've been actively thinking about this style and work for quite a while now. A great goal to aim toward in my opinion.
Walk Like You: Leiter
Saul Leiter as one of the original on the street, lifestyle, candid New York photographers has maybe one of the best eyes ever. Every composition, shooting through things, refletions, shapes color, silhouettes, stolen moments. they are all lush and evocative and wonderful. I have many self portraits shot reflected on glass that are a personal homage to his work. And many other things I've shot owe to his composition, or use of foreground middle and background to internally frame the subjects.
Walk Like You: Gruau
René Gruau has such a stripped down and evocative graphic style. Flat colors and straight lines. Amazing use of both flat color and tactile textures as well. A legend.
Walk Like You: Moebius
I've been reading The Incal ...
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Walk Like You: Manara
Walk Like You: Frazetta
Walk Like You: Leyendecker
In December of 1950, Saturday Evening Post cover artist J.C. Leyendecker outlined his basic method in a letter to a student.
“My first step is to fill a sketch pad with a number of small rough sketches about two by three inches, keeping them on one sheet so you can compare them at a glance.
“Select the one that seems to tell the story most clearly and has an interesting design. Enlarge this by square to the size of the magazine cover, adding more detail and color as needed.
“You are now ready for the model. First make a number of pencil or charcoal studies. Select the most promising and on a sketch canvas do these in full color, oil or water with plenty of detail. Keep an open mind and be alert to capture any movement or pose that may improve your original idea.
“You may now dismiss your model, but be sure you have all the material needed with separate studies of parts to choose from, for you are now on your own and must work entirely from your studies.
“This canvas will somewhat resemble a picture puzzle, and it is up to you to assemble it and fit it into your design at the same time simplify wherever possible by eliminating all unessentials. All this is done on tracing paper and retraced on the final canvas.
“As a rule, I start work with a round or flat sable using a thin wash, with turps as a medium. Keep shadows very transparent, and as the work progresses, apply the paint more thickly on lighted areas, adding some poppy oil or linseed oil if necessary, and using a larger flat bristle brush for the heavier paint, but still keeping the shadows thin and vibrant.
“Your finished painting may be any size to suit you, but is usually about twice the size of the reproduction.
“When the work is dry, apply a quick drying retouching varnish either with a brush or an atomizer.
“Sometimes because of prohibitive model rates or other reasons, one is forced to use photography, but try and avoid it if possible.
I Hate Running, That Is Why I Run
I hate running. That is why I run.