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I'm not sure but I thought that someone somewhere might find this interesting. Background department naming conventions using one of my paintings from Spirit, Stallion of the Cimarron.
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ERICH SOKOL

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John Ciardi once said, “Modern art is what happens when painters stop looking at girls and persuade themselves they have a better idea.” Since we've been rambling for the last few weeks about modern art trends, I thinks it makes sense to heed Ciardi's advice and spend a moment visiting the paintings of Erich Sokol, the gifted illustrator / cartoonist for Playboy magazine. Sokol had a splendid sense of light, color and atmosphere. He was far more talented than traditional pin up artists such as Vargas, whose uninspired paintings now sell for tens of thousands of dollars. Note the confidence with which Sokol handles the stripes of light on the beach in the following painting, or his treatment of the foliage in the background. Nothing is labored, and no unnecessary details. Although the beautiful girl was always the centerpiece of the cartoon, if you look closely you will see that Sokol had more fun painting the male counterpart-- the fat doctor, the grizzled farmer, the blusterin...
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. I've had a blast working on Dreamworks Halloween specials, these are from Shrek's Thriller Night on the Scared Shrekless DVD. Other projects that were a hoot are "The Pig Who Cried Werewolf" and "Night of the Living Carrots"! They premiered on Nintendo 3DS and will likely have a wide release in the future so I'll have plenty to post for upcoming Halloweens.
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THE TRAINING OF JULES GUERIN

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The illustrator Jules Guerin had an unusual combination of strengths. He blended the careful precision of an architectural engineer with the exaggerated, romantic colors of an impressionist. Guerin's technical drawing skills and mastery of perspective were much in demand by architectural firms around the country. By infusing architectural drawings with color, he made them so appealing it almost guaranteed that the design would be accepted and the project funded. At the same time, Guerin's vivid colors and stylized designs made him a popular illustrator of books and magazines. He specialized in painting exotic subjects. Which art school could teach Guerin two such disparate skills? Or was it just natural talent? Actually, Guerin learned from two guys he happened to meet along the way. First, In 1889, Guerin's mother was renting out a spare room in their home when a young artist named Winsor McCay showed up at their door. McCay had just been evicted by his previous landl...
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