Journals27
Newest
Moving......
1 min read
I've started to move towards doing photography recently, so haven't submitted much by way of illustrations for a while. You can find my photography account here- secure.modelmayhem.com/2228826
www.periscope.tv/w/aXKvDTFyYVF…
www.periscope.tv/w/aXKvDTFyYVF…
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True or not...an urban myth...
2 min read
"Girls who wear glasses never get passes", true or false, people?
As a glasses wearer of more than 15 years, I would have to sadly say this is true. Whilst there are a few people who find glasses sexy, from my own experience, glasses have the same effect on the opposite sex as a habit (and no, not the pvc kind). When you remove them, suddenly you become visible, although I do think the style of glasses matters (mine are rather chunky angular affairs that make me look very severe apparently). Now, this probably isn't true for women like this: pics.livejournal.com/revelitio… , and for some others, but for the rest of us mortals it probably is. Why is it that in a film, when the intellectual heroine remove her glasses then BLAM, she's suddenly gorgeous?
Now, I think this is true only for girls, since I've never heard a girl object to a guy because he is a member of the spectacle wearing class. However, I could be wrong, and I can't say for same-sex relationships- so has anyone got any thoughts or views on this, because I'm very curious to find out what everyone else thinks!
As a glasses wearer of more than 15 years, I would have to sadly say this is true. Whilst there are a few people who find glasses sexy, from my own experience, glasses have the same effect on the opposite sex as a habit (and no, not the pvc kind). When you remove them, suddenly you become visible, although I do think the style of glasses matters (mine are rather chunky angular affairs that make me look very severe apparently). Now, this probably isn't true for women like this: pics.livejournal.com/revelitio… , and for some others, but for the rest of us mortals it probably is. Why is it that in a film, when the intellectual heroine remove her glasses then BLAM, she's suddenly gorgeous?
Now, I think this is true only for girls, since I've never heard a girl object to a guy because he is a member of the spectacle wearing class. However, I could be wrong, and I can't say for same-sex relationships- so has anyone got any thoughts or views on this, because I'm very curious to find out what everyone else thinks!
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One to watch.
1 min read
Can I recommend, for anyone who loves metal, or is just interested, or whatever, go have a look at this documentary. It's very well made, and informative, and you're missing out if you haven't seen it:
topdocumentaryfilms.com/metal-…
Also attached to the video was this article:
www.telegraph.co.uk/science/sc…
Personally, I think it might be a bit rubbish, although nice to hear, as a metal lover! I'm interested in what other people think. Do more intelligent kids gravitate towards darker or heavier sounding music?
Please let me know your opinions, of the article and of the documentary.
topdocumentaryfilms.com/metal-…
Also attached to the video was this article:
www.telegraph.co.uk/science/sc…
Personally, I think it might be a bit rubbish, although nice to hear, as a metal lover! I'm interested in what other people think. Do more intelligent kids gravitate towards darker or heavier sounding music?
Please let me know your opinions, of the article and of the documentary.
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Ignore this...
7 min read
Ignore this journal post, its just my art essay...I lost my USB and need to transfer it from one computer to another 
:
James Jean- Transcending Distinctions
When interviewed recently for his Covers book, and asked the question "Are you a fine artist, a designer , or an illustrator, or maybe even a storyteller?" James replied, "These distinctions don't really matter, I'm merely an artist." This refusal to define himself has helped to make James the diverse and popular illustrator he is today.
James Jean is an artist who has achieved what is rare in the field of illustration; seeming overnight success, especially considering he has only just turned thirty. James Jean is a remarkable figure in the comic book world because aside from his famous comic book covers he has also managed to gain renown in the world at large, creating work for the likes of Prada and Nike. However, the work for which he is still best known is his covers run on the comic series Fables, which brought him to the attention of the wider art world. It is a comic which charts the lives of a collection of famous and infamous fairy-tale and folklore characters in New York City. I first discovered James' Fables cover work in an anthology of science fiction and fantastical artwork, otherwise known as Spectrum, which runs every year. I was attracted by his often subtle use of colouring and soft line work in an area of art which normally attracts bright colours and clean, sharp edges, and became interested enough to research his work further.
In many ways, James Jean could be considered more of a fine artist than a comic book illustrator. He has said that "In general, I'm influenced by many different sources, from Shanghai advertising posters to Russian Constructivist collages." Some of his work, such as the first five Fables covers, are entirely composed in oils, and even his digital pieces are often based on charcoal and chalk drawings. These oil paintings, however, are composed in a way which is very illustrative, containing elements of the story within the comic, characters and symbolism. James Jean cites artists like Hokusai as influences, although he has been influenced by and influences a number of other illustrators, particularly in the fantastical art field. Jon Foster is one such artist, he shares James' love of fine detail and soft line work, although his palette is often considerably more vibrant. Although it appears that he has influenced James Jean due to the fact that he is considerably older than him, he has admitted in to being influenced by James. Unlike James, he uses only digital media, whereas James skilfully combines the two, sometimes creating digital pieces, sometimes creating traditional painted pieces and sometimes combining the two, which can be seen as a further extension of his love of dabbling in both illustration and fine art. He does this effortlessly, so sometimes you cannot even see where the traditional media ends and the digital media begins. This blending of media is effectively demonstrated in the piece Fables No. 10- Animal Farm. The figure itself is painted in oils, as is the head of the pig, whereas the chair she sits on is digital, as is the frame around the axe man and the orderly's hands. It is this blending of media that allows James to switch between being a fine artist, an illustrator and a designer, in a way that many other illustrators are unable to. He does not allow himself to be pigeonholed.
Some other artists have argued that you cannot switch between fields in this way, that although you may dabble in different areas, you will always be more comfortable in one. Others, such as illustrator Greg Manchess have stated that you learn certain skills by being trained in the particular field, in this case illustration, which assist you in it, such as the ability to work to a brief. He originally wanted to be a fine artist, but found that he learnt considerably more skills and advanced his artwork by being trained in the field of illustration. This would tend to suggest that switching between fields, e.g. fine art to illustration, is harder than it may appear.
Some of James's work, such as his sketchbook Process Recess, tend towards the more fine art area of the spectrum, whereas some of his other comic covers, such as Batgirl tend more towards illustration. However, even this distinction is not particularly strong, as many of his Fables pieces, which are more illustrative, have been featured in fine art galleries, alongside other fine artists. James Jean's work has attracted very little criticism from other artists and fans alike, with most tending to applaud him for his unique style. He has come under a little criticism for tending towards a slightly anime style of working which some consider incompatible with the very Westernised style of the interior artwork of comics like Fables and Batgirl, which can be seen as linking him more towards illustrators than fine artists. However, his style is not classic Japanese manga comic style but his own, unique, interpretation of it.
James Jean is a remarkable artist who has demonstrated that it is possible to transcend the traditional distinctions between fine art, illustration and design. Previously it was thought that the disciplines were very distinct, but James has become one of the few people who have begun in recent years to become a truly multi-disciplined artist. By refusing to define himself in this way he has increased the audience for his artwork and the number of vehicles for his work, not merely restricted to galleries or comic covers. Researching this essay has changed the way I view my art. Through looking at James' work and the work of artists he has been influenced by and who he has influenced, I have come to see that I do not need to be so concerned with defining myself purely as an illustrator or a fine artist, but can create work which is either or even both.
Bibliography
Book: (2008) J. Jean and B. Willingham. Fables- Covers by James Jean. New York: Vertigo/DC Comics.
Video download: Massive Black DVD Download. Gregory Manchess- "Above the Timberline". Massive Black. Available from World Wide Web: media.massiveblack.com/downloa…
Podcast: SideBar Episode 46 (2008). Interview with James Jean. USA: SideBar Nation. May 1st 2008 (Podcast).
Website with author: J. Jean. James Jean's own website (Online) . (Accessed 2nd November 2009) Available from World Wide Web: <www.jamesjean.com>
Podcast: SideBar Episode 33 (2008). Interview with Jon Foster Part 1. USA: SideBar Nation. February 17th 2008 (Podcast).
Podcast: SideBar Episode 34 (2008). Interview with Jon Foster Part 2. USA: SideBar Nation. February 20th 2008 (Podcast).
Website: Pop Image (2005). (Online). (Accessed 3rd November 2009) Available from World Wide Web: www.popimage.com/content/james…
Book: A. & C. Fenner. (2006) Spectrum 14- The Best in Contemporary Fantastic Art. Nevada: Underwood Books. Pg 85,98, 138.
:James Jean- Transcending Distinctions
When interviewed recently for his Covers book, and asked the question "Are you a fine artist, a designer , or an illustrator, or maybe even a storyteller?" James replied, "These distinctions don't really matter, I'm merely an artist." This refusal to define himself has helped to make James the diverse and popular illustrator he is today.
James Jean is an artist who has achieved what is rare in the field of illustration; seeming overnight success, especially considering he has only just turned thirty. James Jean is a remarkable figure in the comic book world because aside from his famous comic book covers he has also managed to gain renown in the world at large, creating work for the likes of Prada and Nike. However, the work for which he is still best known is his covers run on the comic series Fables, which brought him to the attention of the wider art world. It is a comic which charts the lives of a collection of famous and infamous fairy-tale and folklore characters in New York City. I first discovered James' Fables cover work in an anthology of science fiction and fantastical artwork, otherwise known as Spectrum, which runs every year. I was attracted by his often subtle use of colouring and soft line work in an area of art which normally attracts bright colours and clean, sharp edges, and became interested enough to research his work further.
In many ways, James Jean could be considered more of a fine artist than a comic book illustrator. He has said that "In general, I'm influenced by many different sources, from Shanghai advertising posters to Russian Constructivist collages." Some of his work, such as the first five Fables covers, are entirely composed in oils, and even his digital pieces are often based on charcoal and chalk drawings. These oil paintings, however, are composed in a way which is very illustrative, containing elements of the story within the comic, characters and symbolism. James Jean cites artists like Hokusai as influences, although he has been influenced by and influences a number of other illustrators, particularly in the fantastical art field. Jon Foster is one such artist, he shares James' love of fine detail and soft line work, although his palette is often considerably more vibrant. Although it appears that he has influenced James Jean due to the fact that he is considerably older than him, he has admitted in to being influenced by James. Unlike James, he uses only digital media, whereas James skilfully combines the two, sometimes creating digital pieces, sometimes creating traditional painted pieces and sometimes combining the two, which can be seen as a further extension of his love of dabbling in both illustration and fine art. He does this effortlessly, so sometimes you cannot even see where the traditional media ends and the digital media begins. This blending of media is effectively demonstrated in the piece Fables No. 10- Animal Farm. The figure itself is painted in oils, as is the head of the pig, whereas the chair she sits on is digital, as is the frame around the axe man and the orderly's hands. It is this blending of media that allows James to switch between being a fine artist, an illustrator and a designer, in a way that many other illustrators are unable to. He does not allow himself to be pigeonholed.
Some other artists have argued that you cannot switch between fields in this way, that although you may dabble in different areas, you will always be more comfortable in one. Others, such as illustrator Greg Manchess have stated that you learn certain skills by being trained in the particular field, in this case illustration, which assist you in it, such as the ability to work to a brief. He originally wanted to be a fine artist, but found that he learnt considerably more skills and advanced his artwork by being trained in the field of illustration. This would tend to suggest that switching between fields, e.g. fine art to illustration, is harder than it may appear.
Some of James's work, such as his sketchbook Process Recess, tend towards the more fine art area of the spectrum, whereas some of his other comic covers, such as Batgirl tend more towards illustration. However, even this distinction is not particularly strong, as many of his Fables pieces, which are more illustrative, have been featured in fine art galleries, alongside other fine artists. James Jean's work has attracted very little criticism from other artists and fans alike, with most tending to applaud him for his unique style. He has come under a little criticism for tending towards a slightly anime style of working which some consider incompatible with the very Westernised style of the interior artwork of comics like Fables and Batgirl, which can be seen as linking him more towards illustrators than fine artists. However, his style is not classic Japanese manga comic style but his own, unique, interpretation of it.
James Jean is a remarkable artist who has demonstrated that it is possible to transcend the traditional distinctions between fine art, illustration and design. Previously it was thought that the disciplines were very distinct, but James has become one of the few people who have begun in recent years to become a truly multi-disciplined artist. By refusing to define himself in this way he has increased the audience for his artwork and the number of vehicles for his work, not merely restricted to galleries or comic covers. Researching this essay has changed the way I view my art. Through looking at James' work and the work of artists he has been influenced by and who he has influenced, I have come to see that I do not need to be so concerned with defining myself purely as an illustrator or a fine artist, but can create work which is either or even both.
Bibliography
Book: (2008) J. Jean and B. Willingham. Fables- Covers by James Jean. New York: Vertigo/DC Comics.
Video download: Massive Black DVD Download. Gregory Manchess- "Above the Timberline". Massive Black. Available from World Wide Web: media.massiveblack.com/downloa…
Podcast: SideBar Episode 46 (2008). Interview with James Jean. USA: SideBar Nation. May 1st 2008 (Podcast).
Website with author: J. Jean. James Jean's own website (Online) . (Accessed 2nd November 2009) Available from World Wide Web: <www.jamesjean.com>
Podcast: SideBar Episode 33 (2008). Interview with Jon Foster Part 1. USA: SideBar Nation. February 17th 2008 (Podcast).
Podcast: SideBar Episode 34 (2008). Interview with Jon Foster Part 2. USA: SideBar Nation. February 20th 2008 (Podcast).
Website: Pop Image (2005). (Online). (Accessed 3rd November 2009) Available from World Wide Web: www.popimage.com/content/james…
Book: A. & C. Fenner. (2006) Spectrum 14- The Best in Contemporary Fantastic Art. Nevada: Underwood Books. Pg 85,98, 138.
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Art and stuff.....
1 min read
I had this debate (well, maybe more of a toned down argument 
), with one of my art teachers today about messages in art and interpreting art. I said that I only liked pieces of artwork if I could see some meaning, message or something behind it...if I could see that there was more to a piece than it just being a pretty picture or a random collection of marks on paper.
What does everyone else think? Does a piece of art have to have a story to be good?
), with one of my art teachers today about messages in art and interpreting art. I said that I only liked pieces of artwork if I could see some meaning, message or something behind it...if I could see that there was more to a piece than it just being a pretty picture or a random collection of marks on paper.What does everyone else think? Does a piece of art have to have a story to be good?
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