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Sep 21 2018

More than Words: Illustrating Great Stories (Pt. 2)

Guest post by Pat Knepley – In part one of this post, we looked at three great illustrators. This week we’ll consider four more: N. C. Wyeth, Arthur Rachkam, Jessie Willcox Smith, and Edward Detmold.

N. C. Wyeth

Newell Convers Wyeth was the patriarch of an entire family of successful artists. He and his wife home schooled their children, and included art instruction as the first subject each day. Their son Andrew Wyeth became the most well known American realist painter of the twentieth century. N. C. painted more than 4000 illustrations for publication over his lifetime.

One of his most successful books was when he illustrated the Robert Louis Stevenson classic Treasure Island. Wyeth had a vivid imagination that translated into stunning illustrations filled with compelling characters and exacting detail.

617px-boys_king_arthur_-_n-_c-_wyeth_-_p306 — N. C. Wyeth – *The Boy’s King Arthur*

Wyeth was known for studying every aspect of the genre he was illustrating in order to heighten the realism, even spending some time out west working on a ranch so that the cowboys he drew for his western stories would be true to life.

Arthur Rackham

Arthur Rackham was one of the illustrators during England’s golden age of Book Illustration for the later years of the 19^th century until the start of the Depression. His style of using pen and ink line drawings overlaid with watercolor washes created an ethereal and fanciful look that worked well with the range of stories he illustrated. One of his classics was the fairy tale Rip Van Winkle published in 1905.

Jessie Willcox Smith

Jessie Willcox Smith was an American illustrator known for her works in Women’s magazines and for Children’s literature. Born and educated in Philadelphia, Smith had a long and successful career portraying young children even though she was never a parent herself.

Her rosy-cheeked children graced the covers of many magazines in the early twentieth century, and revealed an intuitive sense of children’s moods and movements. In addition to magazine work, Smith also illustrated classic Children’s literature, such as The Water Babies by Charles Kingsley and Heidi by Johanna Spyri from 1922.

Edward Detmold

Edward J Detmold was born in 1883 in England, and he was a twin. He and his brother were both talented artists with a gift for capturing plants and animals in all their natural beauty. Detmold was influenced by the compositions and color of Japanese prints. In 1909, Detmold illustrated Aesop’s Fables., and since so many of those stories have animals as the main characters, this commission was well suited to Detmold’s skills.

For the home educator, linking art to literature is a natural. Use a book your student is currently reading and have them illustrate one or more scenes. There are two approaches to take with a project like this: illustrate a scene that is described well, making sure the details match; or illustrate a lesser known scene where the artist can fill in details that the author did not take the time to describe.

More imaginative students will like this option. Keep the drawing to simple black pen or a very fine marker over an initial sketch in pencil. The more details added by the young artist, the better! Carefully reading a favorite line, within a chapter so get context, can provide the perfect inspiration (and caption) for a drawing. So start reading some classics and let the words cause your imagination to translate into beautiful pictures.

Try your hand at illustrating a Bible story with Art Projects, Dreams of Joseph:

Art Projects: Dreams of Joseph (Marc Chagall)

Sep 18 2018

Art Tip: Don’t Overwork Pastels

One of the biggest problems of working with soft (chalk) pastels is overworking them. Because pastels cannot be mixed like paint, but must be laid down in layers, sometimes when we try to blend them, we continue until they become muddy and lose definition.

In this, the last of our series, “Six Super Short Art Tips,” Jim shows how to avoid overworking your pastels.

You’ll find more tips on how to properly blend pastels on Art Class DVD #4: Color Blending Techniques.

Art Class Volume 4 – Lessons 13-16: Color Blending Techniques

Sep 14 2018

More than Words: Illustrating Great Stories

Guest post by Pat Knepley

Illustrating Great Stories: Our current culture is overwhelmingly visual, with television and movies accounting for most of the narrative stories we know. Since the time movies were invented in the early part of the twentieth century, many classic pieces of literature have been put to film, and indeed may be have more of a following than the original written work.

Who can read Frank L. Baum’s The Wonderful Wizard of OZ without envisioning Judy Garland as Dorothy, as she played in the 1939 film? Or read Margaret Mitchell’s classic of the antebellum South Gone With The Wind and not imagine Clark Gable as Rhett Butler?

But before the dawn of motion pictures, the only images attached to great works of literature were the ones in the mind of the reader, or the very few that were illustrated.

Illustrations in Classic Literature

Classic Literature is called “classic” because it transcends the time it was written to appeal to a wide audience with a compelling story. Many works of fiction fit the bill – from Alice’s Adventures in Wonderland by Lewis Carroll to Hound of the Baskervilles by Arthur Conan Doyle. What makes these works unique is that they were more than words: these two classics contained iconic illustrations.

Most people think of book illustrations as being for young children’s picture books. But there are many classic books for adults that have masterful illustrations that can also be considered classic. For Alice’s Adventures in Wonderland, the original illustrator was Arthur Rackham. For the Sherlock Holmes mysteries, it was Sidney Paget. The work of these artists did much to popularize these stories even more. Book publishers would often take a book or magazine series that already had commercial appeal and re-introduce it with well-executed drawings that brought the story to a whole new audience.

George Cruikshank

Most scholars agree that it started with the works of Charles Dickens, a writer in 19^th century England. His classic tale of an orphan on the streets of London , Oliver Twist, was illustrated by Dickens’ friend and fellow countryman George Cruikshank. Cruikshank was a caricaturist who made a name for himself going after the politicians of the day in England. But when he illustrated the colorful characters in Oliver Twist in 1838, the entire world was able to see his incredible talent, and enjoy Dickens’ endearing story all the more.

Howard Pyle

Considered the father of American book Illustrators, Howard Pyle was born in Delaware in 1853. From a young age Pyle was more interested in drawing than in his academics, so he was encouraged by his parents as a teenager to study classical art in Philadelphia. He started his art career as an illustrator for several magazines out of New York. In

1884, Pyle wrote and illustrated The Merry Adventures of Robin Hood, which is a novel that wove English folklore and traditional ballads into an exciting narrative that became an instant classic. Pyle was a master illustrator, and founded his own school in 1900 to train other illustrators. Several of his pupils, including N. C. Wyeth, became famous in their own right following the principles espoused by Pyle.

NEXT WEEK: In Part 2 of this post, we’ll look at three more illustrators, including one of the greatest illustrators of all time: N. C. Wyeth.

Illustrators need to be able to draw people. Learn how with Art Class DVD #9:

Art Class Volume 9 – Lessons 33-36: The Portrait (Faces & Figures)

Sep 11 2018

Paint a Starfield on Your Ceiling

A while back I got a question on my YouTube channel about how to create a realistic-looking starfield on a ceiling with chalk. Although it would work (theoretically), a better solution is to use glow paint.

Q: I just came across your video on YouTube about how to create a realistic star field with black light chalk and I would really appreciate if you could help me out.

I would like to create a star field ceiling for my kids’ room and would like to ask if I could use the same technique you used in your video. Since it’s the ceiling we are talking about, would the chalk stick to it by just blowing the chalk on it like you did? What would be the best way to create such a ceiling?

How long will the effect last? Is the blacklight chalk permanent? Or i would have to renew the ceiling after some time?

A: What a great idea! When my son was young, I did a star field on his ceiling, but just used stick-on stars. Not remotely realistic. Here are some thoughts on the subject:

Chalk: Not recommended!

Although my chalk technique would work (at least theoretically), there are some problems with blowing chalk dust onto a ceiling to create a random-looking star field.

First, it would be extremely messy, as a lot of the chalk would fall back down to the ground. And it would be difficult to “fix” the chalk so that it would be permanent. I suppose you could spray some kind of clear coat over it, but I’m not sure how it would look on your ceiling.

Second, without fixing the chalk, it would smear anytime something brushed against it. (Not that a lot of things will brush the ceiling, but you’d never be able to dust or clean it without erasing or smearing the chalk.)

Third, because some of the pigment is toxic, I don’t think I’d want that dust on a children’s room, where they might breathe it if it gets stirred up.

A Better Solution: Phosphorescent Glow Paint

Here’s a better way to create that effect:

If I were doing it, I’d probably use phosphorescent glow paint rather than chalk. You could get a similar, random effect by using a stiff bristle brush and spattering the paint on the ceiling. (This is a common technique of watercolorists. You load paint onto the toothbrush and rake your fingernail across it to spatter it on the paper or canvas.)

You can buy good quality phosphorescent paint from: artnglow.com.

The paint will need to be “charged” to make the entire star field glow. You can do this with a black light or strong sunlight (if the room has a lot of windows).

Here’s a short video I found that compares different varieties of glow paint:

And for those who haven’t seen it, here’s my video about how to create a star-field with chalk:

Enjoy art and drawing all year long with Art Class:

Art Class 9-DVD Boxed Set

Sep 07 2018

Mary Cassatt: American Impressionist

Guest Post by Pat Knepley

Most people think of France when they think of the Impressionism era of art. And indeed, French Impressionism is the most famous branch of that era and has the most recognized names in history: Claude Monet, Pierre Auguste Renoir, Edgar Degas, Paul Cezanne.

But there were many American artists that had also adapted the techniques and sensibilities of the Impressionist movement. Mary Cassatt was one of these.

Mary Cassatt’s Early Life

Mary Stevenson Cassatt could be considered both French and American. She was born in a small town outside of Pittsburgh, Pennsylvania in May 1844. Raised in a wealthy family, she was brought up to be a lady and eventually a wife and mother. But Mary had other ideas.

While she was young, Mary traveled with her family all over the world, and in fact had drawing lessons when she visited the cities of London, Paris and Rome. She even learned to speak German and French.

Much to her father’s dismay, she enrolled in Art school in Philadelphia when she was 16, since her family moved to that area when she was six. Cassatt experienced some discrimination, as the male establishment there did not take kindly to a woman who actually wanted to make art her profession rather than just a hobby. Frustrated with the lack of seriousness she experienced, she left the Academy of Fine Arts without completing her studies and moved to Paris in 1866 to study with Masters on her own.

Self-Portrait - Mary Cassatt — *Self-Portrait* – Mary Cassatt

Cassatt’s Education in Paris

Under the instruction of the French artist Jean-Leon Gerome, Cassatt went to the Paris museum the Louvre every day to copy masterworks. This is where many of the young French artists met the Americans who came there to learn side by side. Cassatt painted in the traditional, realistic style, and submitted works to be shown at the Paris Salon, the premier place for artists to showcase their works. She would have some pieces accepted to show at the Salon, but saw discrimination there, too. It was a constant struggled to be accepted as a serious female artist.

In 1871, she traveled to Italy to work on a commission by the Archbishop of Pittsburgh, and while there she painted “Two Women Throwing Flowers During Carnival” that was shown at the Salon of 1872 and brought her notoriety. After a trip to Spain to study paintings there, Cassatt made the decision in 1874 to settle in Paris and make it her home. Her sister Lydia decided to join her and be her roommate.

Influences on Cassatt

France was her home for most of her adult life. Cassatt continued to submit her artwork to the Paris Salon but became disenchanted with the politics, and in 1877, for the first time in seven years, she had no art shown there. SO her friend, artist Edgar Degas, invited Cassatt to show her work with a group of artists known as the Impressionists. This band of maverick painters had rallied together to create their own art show in opposition to the Salon that they felt was stuck in tradition. Since Cassatt admired Degas and his art greatly, she readily accepted his invitation and began to paint with gusto. She exhibited with the Impressionists for the first time in April 1879. Over a period of two years, her brushstrokes loosened up, and she adopted a style of more immediacy.

Cassatt liked to paint spontaneous scenes from daily life, particularly situations involving mothers and children. This became the motif of most of her paintings, though she did paint landscapes and other scenes. But her tender portrayal of the bond between a mother and child is the theme most identified with Cassatt.

Caresse Maternelle - Mary Cassatt — *Caresse Maternelle* – Mary Cassatt

With the influence of the French impressionist painters that she socialized with, Cassatt explored a lighter touch and more pastel colors that created a softness that suited her subject matter. She was especially influenced by her dear friend Edgar Degas, who mastered chalk pastels as well as oil paint. Cassatt also used this new medium to great effect as she moved away from the traditional painting style employed at the start of her career.

Mother Feeding Her Child Mary Cassatt — *Mother Feeding Her Child* – Mary Cassatt

Cassatt’s Growing Popularity

Cassatt remained with the Impressionists through 1886. During the time she considered herself an Impressionist, she brought the paintings of her French artist friends to the attention of many American collectors, thus she was instrumental in highlighting this art movement back home. Cassatt never married, as she felt that it would not be compatible to her career as an artist, though she was devoted to her parents and siblings, and certainly was a loyal and dear friend to all who knew her. One wonders if she had a maternal streak as her portraits of mothers with children are so captivatingly real without being overly sentimental.

Cassatt’s work finally became popular with audiences and critics in the 1900s, and she continued painting her best-known subject of mother and child until near blindness forced her to give up painting in 1914. She died in 1926 in a town near Paris and is buried with her family in France.

Mary Cassatt Art Project

For an art class project, Home educators can view some of the many works of Mary Cassatt with their students, then ask them to draw in chalk pastels or colored pencils an everyday activity that is done with Mom or Grandmom.

In Cassatt’s “Young Mother Sewing”, a preschool-aged child leans into her mother’s lap as the mother continues to mend a garment. The two are happy to simply be in each other’s presence during this routine task.

Young Mother Sewing - Mary Cassatt — *Young Mother Sewing* – Mary Cassatt

Start with the basic form of the mother, and place her in the scene with whatever the activity is. Rather than trying to fit the mom’s entire body, think in terms of a close-up – focus on the area of activity. Is it the hands doing something? The face? Some suggestions for activities would be washing the dishes, walking the dog, brushing your hair, setting a table, or even reading a book together. Once the mother figure is in place with some sketched in lines, then add in the child or children of your family. Fill in with pastel colors. Once the pastel drawing is complete, take outside on a non-windy day and spray lightly with cheap aerosol hairspray to set the chalk pastel. A mother and child drawing in the style of Mary Cassatt would be a great gift for mom or grandmother as well!

Here’s a fun video on the works of Mary Cassatt:

Learn about another impressionist, Georges Seurat, with our Art Projects DVD, Pointillism Fruit:

Art Projects: Pointillism Fruit (Georges Seurat)