I am quite impressed with the variety of activities a new Montessori school offers its little students – Maria’s House, a traditional Montessori, opened in the fall in my hometown area. They asked me to draw a range of experiences that will be available in their summer session, from fencing to equestrian pursuits.
The summer session is a ‘bridge’ for the students between the end of this school year and the start of the next, so it is titled Ponte Montessori.
I am told that the art will be used in the advertisement below, and published in our local papers as well as the Philadelphia Inquirer, Bucks County Magazine and the New York Times. Included is another drawing I made of the lovely main house of the school.
The Bucks County Illustrators Society and the Lahaska Bookshop will host a talk and book-signing by Caldecott award-winning author-illustrator David Wiesner this Thursday evening, April 4 at 7:00 PM.
Wiesner is the author and illustrator of many childrens books such as Tuesday, The Three Pigs and Flotsam,
and is a three-time winner of Caldecott Medals, which recognize distinguished American picture books for children.
Mr. Wiesner will speak about his illustration career and how childhood memories
and images influence the stories he
creates. He will sign any of his books purchased that evening. This event is
free and open to the public.
Please take a moment to g HERE to register for the event – it is free, but registering will give the Lahaska Bookshop an idea of how many people will be attending, so they can provide enough seating.
The event takes place at the Lahaska Bookshop, located at
162A Peddler’s Village, Old York Rd. (Rte. 263) and Carousel Lane, Lahaska, PA.
There is parking in front of the shop, with other lots nearby in Peddler’s
Village. For further info contact 215-348-4837 or email@example.com.
The latest article given to me by the editor of Lodging Magazine involves manager tips for making a workplace a good environment for employee mental health. The key was offering support to workers in terms of acknowledging outstanding work, explaining employee goals in a clear way and setting an example for employees to model. I came up with an arched bridge as being the means of support, with the recommended action points spelled out on the pillars.
First I drew a pencil sketch with loose tones blocked in –
With the idea approved, I traced the drawing onto illustration board, outlined in prisma pencil and painted it with acrylic washes, using the sketch as reference to keep the values consistent.
Meal kits are very popular right now, especially among young couples in big cities – they are a subscription service that delivers a fully-stocked box full of raw food to your door in a refrigerated container, with instructions on how to cook all the ingredients into a delicious, almost gourmet dinner for two. And if the recipe calls for one stalk of celery, that’s exactly what they provide – one stalk, in a clear plastic sleeve, so there’s no scrap left. What, though, can be done with all the packaging that’s leftover? Well, since spring is just around the corner, I propose . . .
I’ve been looking through the illustrations of Arthur Getz, one of my favorite New Yorker cover artists. Getz painted 213 covers for the iconic magazine between 1938 and 1988. In addition to illustration work, he painted cityscapes and landscapes – ‘fine art’ sold through galleries – although he sometimes signed them with his middle name, Kimmig, because at the time a fine artist was not supposed to cross the line into commercial art.
A particular favorite of mine is his cover from 1957:
The moment it captures is utterly American, isn’t it? To the left, the bustling, spangly city with silhouetted crowds in frenetic motion, and in the foreground the relaxed parking attendant, contentedly oblivious to the high life a few blocks behind.
The skill and techniques of this artist make the painting especially appealing to me. The blazing city lights in the distance are warm, but it’s cold moonlight fluorescing down on the garage attendant – that’s the opposite of what you’re taught in painting class! Warm colors are supposed to come forward and cools recede – but Mr. Getz makes this inversion work beautifully. The covers of the magazine our fellow’s reading are slightly brightened with the reflected light bouncing off the pavement – reflected light is a detail that a master’s eye notes, and novices often overlook. The splashes of neon red far off in the city are balanced by that rusty red wall to our protagonist’s left; there’s even the faintest red haze in the air above the cars in the garage, a delicate touch to offset all that chill October air.
And our attendant’s pose, balancing on the chair – another master stroke. Let me explain: when you draw a standing figure and you want it to look steady, not tipping over, you draw it so the supersternal notch – that’s the central notch between your left & right collarbone – is directly over the inner ankle of the leg bearing the weight of the body – this makes the figure looks solid. Well, Mr. Getz has this gent perfectly balanced: if you imagine where his supersternal notch is, and draw a line straight down, it’s directly over the spot where the chair leg bearing the man’s weight touches the pavement. This acrobatic bystander is not going to tip over!
The contrasts in tone all around our nonchalant hero seal the deal for me. After your eyes take in the whole scene, where does your attention go? To the crisp lightning-white page edges of that magazine and that tiny cusp of face and finger illuminated by the October moon. That’s intentional – they are painted with a razor edge and surrounded by blacks and neutral grays to draw your gaze like a pinpoint. The same goes for the swatch of city on the left, the contrast is so high between the yellows and blacks that you can’t not look at them – but even though those marks are skillful, they are vague, to give an impression of buildings and lights. The painting strokes in and around our parked friend’s figure, instead, are descriptive, deliberate and masterful.
There’s sometimes a bit of friction between illustrators and fine artists, over whether illustrations deserve the same esteem that framed paintings are given. If you ask me, this Garage Nocturne by Arthur Getz could hang in a museum next to Hopper’s Nighthawks any day.
When a Scout makes his Eagle rank and is celebrated with a Court of Honor, there are always some exceptional people to be thanked. The journey to Eagle is guided by Scoutmasters, parents, friends and others who inspire and encourage the Scout to accomplish the challenges needed to achieve Eagle rank.
For these special mentors in a Scout’s journey, several customers have asked me to produce smaller thank-you notes for Eagles to use. I have now listed these on my Etsy shop, AchillesPortfolio. My Eagle thank-you notecards come 20 to a pack and have my “Eagle Scout on a Hilltop” illustration on the front. To see my Etsy shop for further ordering details, click HERE.
I drew the artwork on this card when my son was in Scouts, because I was so impressed with these fine young men who achieved Scouting’s highest rank. I have these cards printed in full color on sturdy glossy card stock, invitation-size, which is 4.25″ wide and 5.5″ deep. No envelopes are included, but invitation-size envelopes that fit these perfectly are easily available at any office supply store like Staples. The card requires standard first-class postage. The cardstock is made from partially recycled paper and the cards are printed in the USA, and the cards are blank inside so a thank-you or other message can be written by the sender.
For special orders of quantity or size on these notecards please send your questions by clicking HERE to go to my Contact page.