Earl Moran

Earl Steffa Moran [December 8, 1893 – January 17, 1984], born in Belle Plaine, Iowa, was a 20th Century pin-up and glamour artist. Moran's first instruction in art came under the direction of John Stich, an elderly German artist who also taught the great illustrator W.H.D. Koerner. Moran also studied with Walter Biggs at the Chicago Art Institute.

Moran later studied at the famed Art Students League in Manhattan, where he took instruction from the muralists Vincent Drumond, Robert Henri, Thomas Fogarty [Norman Rockwell's teacher], and the legendary anatomist George Bridgman. After moving back to Chicago in 1931 and opening a small studio where he specialized in photography and illustration, he sent some paintings of bikini-clad girls to two calendar companies; when both Brown and Bigelow and Thomas D. Murphy Company bought the work, his career was officially launched.

Moran signed an exclusive contract with Brown and Bigelow in 1932 and by 1937, his pinups had sold millions of calendars for the company. In 1940, Life ran a feature article entitled "Speaking of Pictures" which mostly focused on Moran's work and made him a national celebrity. In 1941, Moran helped the magazine publisher, Robert Harrison, to launch a new men's magazine called Beauty Parade, and he later contributed pin-ups to other Harrison magazines such as Flirt, Wink and Giggles.

In 1946, Moran moved to Hollywood though he had already painted many movie stars including Betty Grable, for publicity posters. Soon after his arrival, he interviewed a young starlet named Norma Jean Dougherty who wanted to model for him. For the next four years, Marilyn Monroe posed for Moran and the two became friends. She always credited him with making her legs look better than they were as she felt they were too thin. Moran's work during this time period is now his most valuable; a Moran Marilyn pastel sold for $83,650, nearly doubling the previous record for one of his works, when the Craig MacMillan collection was sold at Heritage Auctions in February 2011.

Moran lived in the San Fernando Valley from 1951 to 1955, hosting fabulous parties, directing and starring in short television films, painting portraits of Earl Carroll's Vanities Girls, and maintaining his position as a star of the pin-up world.

After a move to Las Vegas [circa 1955] and several years of living in the fast lane, Moran decided to devote his time to painting fine-art subjects, with nudes as his favorite theme. Signing with Aaron Brothers Galleries, he painted for collectors until 1982, when his eyesight failed. An interesting note, some of his earlier works for Harrison were signed "Steffa" or "Black Smith".

Moran died in Santa Monica, CA on January 17, 1984.

source: wikipedia

Gil Elvgren

Gil Elvgren [March 15, 1914 – February 29, 1980], born Gillette Elvgren, was an American painter of pin-up girls, advertising and illustration. Elvgren was one of the most important pin-up and glamour artists of the twentieth century. Today he is best known for his pin-up paintings for Brown & Bigelow. Elvgren studied at the American Academy of Art.

Gillette A. Elvgren attended University High School. After graduation he began studying art at the Minneapolis Institute of Arts. He subsequently moved to Chicago to study at the American Academy of Art. He graduated from the Academy during the depression at the age of twenty-two. Elvgren joined the stable of artists at Stevens and Gross, Chicago's most prestigious advertising agency. He became a protégé of the talented artist, Haddon Sundblom.

Elvgren was a classical American illustrator. He was a master of portraying the all-American ideal feminine[citation needed], but he wasn't limited to the calendar pin-up industry. He was strongly influenced by the early "pretty girl" illustrators, such as Charles Dana Gibson, Andrew Loomis, and Howard Chandler Christy. Other influences included the Brandywine School founded by Howard Pyle.

In 1937, Gil began painting calendar pin-ups for Louis F. Dow, one of America's leading publishing companies, during which time he created about 60 works. Around 1944, Gil was approached by Brown and Bigelow, a firm that still dominates the field in producing calendars and advertising specialties. He was associated with Brown and Bigelow from 1945 to 1972.

Elvgren was a commercial success. Elvgren lived in various locations, and was active from the 1930s to 1970s. His clients ranged from Brown and Bigelow and Coca-Cola to General Electric and Sealy Mattress Company. In addition, during the 1940s and 1950s he illustrated stories for a host of magazines, such as The Saturday Evening Post and Good Housekeeping.

source: wikipedia

Happy Birthday Miss Sagang

BLONDE(Realtime character) By `Ki yong Sim

Amazing 3d:)

source link:blog.naver.com

hoody

Paperman and the Future of 2D Animation

The Art of Denis Zilber

links: deniszilber.blogspot |  deniszilber.com | deniszilber.cghub | facebook.com/deniszilber | behance.net/deniszilber | Denis-Zilber-Art | denis-zilber-interview

CGChallenge XXVII: TEN

CGSociety is celebrating our first ten years as the premier site for CG artists worldwide. As part of the celebration we challenge you to incorporate the number ten into an image or video, whether literally or symbolically.
It could be a child counting to 10 for the first time, a parody of the movie 10, a play on words (tentacles, tenacious, tenant), the Ten commandments, ten minutes to save the world, remember when you were ten (imaginary friends, bullies, nightmares, dreams for the future), what happened ten years ago, the power of ten.
It could be 2D or 3D, image or video, and produced on any software. Make it hilarious or make it epic, just make sure it cleverly adds the number, idea, word or symbol of ten. It is CGChallenge XXVII, and it’s going to be big!

source link: challenge.cgsociety.org/ten

29 Ways to Stay Creative

Motion Graphics:
TO-FU
web http://www.to-fu.tv
twitter http://twitter.com/tofu_design
Facebook http://www.facebook.com/TOFU.design

Reference:
http://paulzii.tumblr.com/post/3360025995

Music:
Fairest of them all (#)
by Kämmerer
http://www.jamendo.com/en/track/751979

UFO Robot Grendizer

UFO Robot Grendizer [UFOロボ·グレンダイザー UFO Robo Gurendaizā?, sometimes romanized as UFO Robo Grendizer] is a super robot TV anime and manga created by manga artist Go Nagai. It is the third entry in the Mazinger trilogy. It was broadcast on Japanese television from October 5, 1975, to February 27, 1977, and lasted 74 episodes. The robot's first appearance in the United States was as a part of the Shogun Warriors line of super robot toys imported in the late 1970s by Mattel, then in Jim Terry's Force Five series, both under the title Grandizer. It is still widely popular in the Middle East, and it was especially popular in France and Quebec, as well as among French speaking Canadians in the province of New Brunswick, where it was aired under the title Goldorak. In Italy, the series was as popular and known as Goldrake.

source: wikipedia

Mazinger Z

Mazinger Z [マジンガーＺ Majingā Zetto?], known briefly as Tranzor Z in the United States, is a Super Robot manga and anime series created by Go Nagai. The first manga version was serialized in Shueisha Weekly Shōnen Jump from October 1972 to August 1973, and it later continued in Kodansha TV Magazine from October 1973 to September 1974. In December 1972, the anime version premiered on Fuji Television. The TV series ended September 1, 1974. A second manga series was released alongside the TV show, this one drawn by Gosaku Ota, which started and ended almost at the same time of the TV show.

Mazinger Z is an enormous Super Robot, constructed with a fictitious metal called Super-Alloy Z [超合金Z Chōgokin Zetto?], which is forged from a new element [Japanium] mined from a reservoir found only in the sediment of Mt. Fuji, in Japan. The mecha was built by Professor Juzo Kabuto as a secret weapon against the forces of evil, represented in the series by the Mechanical Beasts [mecha used for evil purposes] of Dr. Hell. The latter was the German member of a Japanese archeological team, which discovered ruins of a lost pre-Grecian civilization on an island named Bardos [or Birdos, although some inconsistent translations have identified the island as being the actual Greek island of Rhodes]; the civilization was loosely based on the ancient Mycenae, and was called the Mycéne Empire in the series. One of their findings was that the Mycene used an army of steel titans about 20 meters in height [compare with the Greek legend of Talos]. Finding prototypes of those titans underground which could be remote-controlled and realizing their immense power on the battlefield, Dr. Hell goes insane and has all the other scientists of his research team killed except for Professor Kabuto, who manages to escape. The lone survivor goes back to Japan and attempts to warn the world of its imminent danger. Meanwhile, Dr. Hell establishes his headquarters on a mobile island, and plans to use the Mechanical Beasts to become the new ruler of the world. To counter this, Kabuto constructs Mazinger Z and manages to finish it just before being killed by a bomb planted by Hell’s right-hand 'man', Baron Ashura, a half-man, half-woman being. As he is dying, he manages to inform his grandson Kouji Kabuto about the robot and its use. Kouji becomes the robot’s pilot, and from that point on battles both the continuous mechanical monsters, and the sinister henchmen sent by Doctor Hell in every episode.

source: wikipedia

Old Master Q

Old Master Q [Chinese: 老夫子; pinyin: Lǎo Fū Zi] is a popular Chinese manhua created by Alfonso Wong. The cartoon first appeared in the newspapers and magazines in Hong Kong in 1962, and later serialized in 1964. The comic is still in publication today.

The series features the now well-known characters such as Old Master Q and Big Potato, as well as Mr Chin, Mr Chiu and Miss Chan, in many different hilarious situations. They are usually portrayed in a variety of social statuses, professions and time periods, ranging from beggars and office workers to actors and ancient warriors, allowing a wide variety of settings and ideas. More outlandish scenarios include close encounters with aliens, ghost sightings and the afterlife.

In the context of the strips, Old Master Q, Big Potato and Mr. Chin are close friends; Mr. Chiu often play an antagonistic role toward the trio; finally, Miss Chan is often portrayed as a love interest to Old Master Q. The comic is now copyrighted by WangZ Inc, a company established by Joseph Wong Chak [Alfonso Wong's eldest son] in Taipei, Taiwan.

source: wikipedia

links: 

oldmasterq.com

omqcomics.com

menghusblog

Voltes V

Chōdenji Machine Voltes V [超電磁マシーン ボルテスＶ Chōdenji Mashīn Borutesu Faibu?, Super Electromagnetic Machine Voltes Five] is a Japanese anime television series that was first aired on TV Asahi starting June 4, 1977. It was created by Saburo Yatsude (a pseudonym referring to a committee within Toei Company) and directed by Tadao Nagahama. Voltes V is the second part of the Robot Romance Trilogy of the Super Robot genre which includes Chōdenji Robo Combattler V and Tōshō Daimos. Like Combattler V, the series was animated by Sunrise and produced by Toei Company. The series was animated by Sunrise on Toei's behalf. This super robot along with the other two aforementioned super robots first appeared the USA as a part of Mattel's Shogun Warriors line of import toys, released in the late 1970s.

Voltes V narrates the heroic exploits of the young robot pilots known as The Voltes Team and their trials against alien invaders from the planet Boazan. Armed with the Super Electromagnetic Machine Voltes V, the five pilots drive back the invaders one Beast Fighter at a time. The series is different from typical super robot anime of the time in that it illustrates human sentimentality and common values, with underlying themes such as the love of family, equality, selfless sacrifice, team work, and patriotism.

Voltes V is a work that has a heavy revolutionary undertone. The series ends with Voltes V's spectacular counterattack on planet Boazan to liberate the slaves from the oppression of a tyrannical ruler, Emperor Zu Zambojil. After Voltes V, Tadao Nagahama directed the TV anime version of Rose of Versailles, which leaves speculation that perhaps Voltes V was influenced by Nagahama's research on the French Revolution for his future project. The theme of enslaved population rising up to overthrow an aristocracy lend support to theory.

Voltes V's arsenal consists of variety of missiles, a bazooka, beams, and weapons such as Chōdenji Top [Similar to the Chōdenji Yo-Yo of Combattler V] and Tenkūken [天空剣 Sky Sword, "Laser Sword" in the English dub, "Excalibur" in the Italian dub]. With Tenkūken, Voltes V marks the enemy's final moments with a signature "V" slash. This established it as one of the first super robots to use a sword in its finishing attack.

Voltes V deviates from the robotic design of the Combattler V. Voltes V's plot has a more serious tone than the comedic storyline of Combattler V. Voltes V also follows a formula similar to that of Daimos.

source: wikipedia

links: many-faces-of-megumi-oka

DX Daimos

Tōshō Daimos [闘将ダイモス Tōshō Daimosu?, Brave Leader (or Fighting King or Battle Commander) Daimos] is a Japanese anime television series produced by Sunrise. Daimos is the third installment of the "Romantic Trilogy", following Chōdenji Robo Combattler V and Chōdenji Machine Voltes V. It ran from 1 April 1978 to 27 January 1979 and consisted of 44 episodes. A movie with the pivotal episodes strung together titled Starbirds was released in the US by the same company that released Tranzor Z. The name Daimos is derived from Deimos, one of the two moons of Mars. Outside of Japan, the show also aired in the Philippines, Malaysia, Thailand and Italy. In the early 1980s there was a VHS release in France, but only the first seven episodes were available. In the 1990s, the entire series was shown in Poland [although with Polish voiceover, the Italian dubbing could be heard in background].

Tadao Nagahama, who directed the series, is often miscredited as the "creator" of the trilogy. It was actually created by "Saburo Yatsude," best known to American fans as the creator of Voltron [Golion in its original Japanese].

"Saburo Yatsude" is not a real person. Similar to "Hajime Yatate", the name is a pseudonym which refers to the collective staff of Toei Co. Ltd [specifically, the main Toei division, as opposed to the animation divisio]). The series was animated by Sunrise on Toei's behalf.

The first appearance of Daimos in the United States was in the late 1970s as a part of Mattel's Shogun Warriors line of imported Super Robot toys.

source: wikipedia

The Art of Brom

source: kickstarter.com

Clever Tutorials & Techniques on Traditional Drawing

source: www.smashingmagazine.com

Pixar Intro Parody

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femmes & hommes

Dolphy Tshirt

hahaha!!!lol!!!

demotix.com/news

Talentadong Pidol

This is something cool:), my Dolphy caricature is one of the images in the backdrop of this tv special:)

Willie Revillame on Talentadong Pidol (Dolphy's... by certifiedkapatid

Chef Cha

chefcharity

benz showroom

bernard feliciano

Principles of Visual Art

The principles of visual art are the rules, tools and/or guidelines that artists use to organize the elements of art in an artwork. When successfully combined with the elements of art they aid in creating an aesthetically pleasing or interesting work of art. Some principles of art that have been identified are movement, unity, harmony, variety, balance, rhythm, emphasis, contrast, proportion, and pattern. This list may vary, according to the art educator, but encompasses the generally accepted principles. Rhythm and pattern are often combined in art education texts.

Movement shows actions, or alternatively, the path the viewer's eye follows throughout an artwork. Movement is caused by using elements under the rules of the principles in picture to give the feeling of motion and to guide the viewer's eyes throughout the artwork. In movement an art should flow, because the artist has the ability to control the viewer's eye. The artists control what the viewers see and how they see it, like a path leading across the page to the item the artist wants the viewer's attention focused on. Techniques such as scale and proportion can be used to create an effect of movement in a visual artwork. For instance, an element that is further into the background is smaller in scale and lighter in value. The same element repeated in different places within the same image can also demonstrate the passing of time or movement.

Unity is the wholeness that is achieved through the effective use of the elements and principles of art. The arrangement of elements and principles to create a feeling of completeness. Generally, a work of art is strengthened by a sense of unity in form and composition. Works where all of the elements seem to visually fit together allows the whole to become greater than its parts. Likewise, this term can also be applied to the concept behind the artwork. An analogy would be the way in which a conductor directs a wide variety of instruments in an orchestra to produce a symphony that is recognized as a single comprehensible piece.

Harmony is achieved in a body of work by using similar elements throughout the work, harmony gives an uncomplicated look to a piece of artwork or sculpture. Color Harmony or Color Theory is also considered a principle through the application of the design element of color.

Variety is the quality or state of having different forms or types, notable use of contrast, emphasis, difference in size and color.

Balance is arranging elements so that no one part of a work overpowers, or seems heavier than any other part. The three different kinds of balance are symmetrical, asymmetrical, and radial. Symmetrical (or formal) balance is the most stable, in a visual sense. When both sides of an artwork on either side of the horizontal or vertical axis of the picture plane are exactly (or nearly exactly the same) the work is said to exhibit this type of balance. The asymmetrical balance is the balance that does not weigh equally on both sides. Pieces of art that display radial balance have elements equally distributed from a center point. Radial balance also is very difficult at times and if not at the same equal lengths it might appear untidy so one must be careful when doing radial balance.

Contrast is created by using elements that conflict with one another. Often, contrast is created using complementary colors or extremely light and dark values. Contrast creates interest in a piece and often draws the eye to certain areas. It is used to make a painting more visually interesting.

Proportion is a measurement of the size and quantity of elements within a composition. In ancient arts, proportions of forms were enlarged to show importance. This is why Egyptian gods and political figures appear so much larger than common people. The ancient Greeks found fame with their accurately-proportioned sculptures of the human form. Beginning with the Renaissance, artists recognized the connection between proportion and the illusion of 3-dimensional space.

Pattern and rhythm (also known as repetition) is showing consistency with colors or lines. Putting a red spiral at the bottom left and top right, for example, will cause the eye to move from one spiral, to the other, and everything in between. It is indicating movement by the repetition of elements. Rhythm can make an artwork seem active.

source: wikipedia

Kumi Yamashita

www.kumiyamashita.com

Story Telling from Pixar

22 Tips on Story Telling from Pixar
by Director and Pixar storyboard artist Emma Coats

   1. You admire a character for trying more than for their successes.
   2. You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.
   3. Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
   4. Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
   5. Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
   6. What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
   7. Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
   8. Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
   9. When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
  10. Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
  11. Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
  12. Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
  13. Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
  14. Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
  15. If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
  16. What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
  17. No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.
  18. You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
  19. Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
  20. Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
  21. You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
  22. What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

source: nofilmschool.com