I created this blog to help my students find new inspirational artists and works, all while strengthening their interest and pride in their work and themselves as artists. :D
i'm also an aspiring artist myself.
This is Brad Vetter, working designer, letter press printer, and artist. Living and working in Nashville, Brad has made a very successful name for himself as one of the printers for Hatch Show Prints.
His work, although feeds into the fields of poster design and graphic design, maintains a strong foundation in art. For those of you interesting in including text into your work, take a look at his work. He balances the use of words in to well thought out compositional pieces.
Graphic Designers, I'm showing you Brad's work because I want to stress what Gary has you do. I know for a fact that Gary has you sketch out your ideas before you even touch the computer. The great designs you created are not created because of the computer, but from you. Brad is an excellent example of how good design is still made by hand.
I love how Brad approaches color within his pieces. They enhance and don't distract. It's pretty amazing how he is able to use minimal color to make a poster just beam. It's also pretty amazing that he can overlap a small amount of color and create depth.
I've met Brad once, in Murray, Kentucky. I was in town for my friend's BFA show, and I met him and Adrienne for dinner at Jasmine's. This restaurant is one of many things I miss of that small town in Western Kentucky. I ate Singapore Noodles with chicken and a spicy crab sushi roll.
My initial impression of Brad was "this guy has awesome facial hair." I aspired to have facial hair like this guy, but alas, genetics has not granted me the ability. The artist is a really great guy (Adrienne - I totally approve of this guy).
A trip to Chicago with Heather Brammeier, painting professor at Bradley University, saw a couple of graduate students and Bachelor's of Fine Arts degree gallery hopping one day. Heather took us to some of her favorite galleries, and one in particular represents Ms. Amy Casey.
The ZG Gallery had an exhibition of Amy's work hanging that day. There is something about Amy's work that just intrigues me. Could it be the muted palette of colors she utilizes or maybe the unconventional use of the buildings. Whatever the reason, I was happy to find out that Heather was also attracted to Amy's work.
ZG Gallery printed a small book of her imagery and I jumped at the chance to purchase it. With my purchase, the gallery stuck a simple sticker with her signature in my copy and I felt like I had just received an autograph from a rock star.
From her artist statement, Amy describes her work as an extension of a series of dreams she had. Not wanting to depict her dream exactly, she evokes the feeling felt within them.
Here's what she had to say:
"For about the last eight years, I've been experiencing a sporadically recurring dream about the end of the world. Animals stampeding and buildings falling into dust around me. I wake in panic and with a heavy sense of inevitability...
...I think that like my dream, my paintings reflect my view of the nervous state of affairs the world seems to be in."
Rory Coyne is a an artist living and working in Chicago. So kiddies, he's somewhat of a local artist. Maybe we should plan a trip to Chicago and catch an exhibition of his work in the near future.
I discovered his work at www.deviantart.com, and immediately was impressed with his technical skill with oils and drawing, but more importantly is rendering of the figure. You all know that the next drawing class listed in the curriculum is LIFE DRAWING. What better way to familiarize yourself with how the human figure is used in Contemporary Art World then by looking as work that focuses on the subject.
Coyne's work is very much contemporary but also draws on the work of others, such as Jenny Seville, Ron Muenck, and Rembrandt ( I'm sure there are many others). All are listed as favorite artists by Coyne, and only supports my constant push for you all to look at other artists.
It's important to connect to what's being made in the art world. It's important to find a group of artists you feel influenced by. It will only make your work stronger as you head deeper into your degree program.
I've been follow his work on deviant art for awhile. It seems he really appreciated feedback and tries to reply to most (if not all) comments left on his pieces. He's a great example of strong figurative imagery with an interesting twist.
Now some images:
who to listen to, 2009
photograph of artist
another ::conversation::, 2007
oil on canvas
6' x 5'
one of those days...murr, 2009
oil on canvas
42"w x 48"h
pig tale, 2008
oil on canvas
1' x 1'
tri and tri, 2007
etching with aquatint
Don't be freaked out about having to draw nude figures. It's important to learn the human body while working from a live model. Photographs don't provide a 3-dimensional source of information.
Go into the figure drawing class and just draw...Remember, Go Big or Go Home. Step Hard or Step off.
(if you don't want your picture here,Emma, please let me know
I thought it would be nice for my students to see what the artist looks like)
I ran across Emma's work while checking on messages in my deviantart account. Her three watercolor studies are perfect examples of how manipulate the media. As this past semester was the first time I taught watercolor, I'm beginning to look for other works I can use as good examples of how watercolor can be used. (at least in my opinion)
From my brief interaction with Emma, she seems to be a really nice and humble artist, and I believe you all would love her studies. They are beautiful, and offer excellent use of pigment/water ratio, and control of the brush. They also hint at the ink wash drawings and painting for the Japanese and Chinese masters, so of course I was immediately pulled into these works.
I asked her if there were any tips she would like to share with you all about water color and here's what she said:
"In all truth these are just doodles and I haven't worked with watercolors in years. What I've realized picking it up again is that paper is everything. These were just done on a bristol pad, so the medium did not act with the versatility and freedom that it should. So using a paper specifically for watercolors, or at less nothing hot press, is the best. Also, if you're going for detail it's best to use a very small brush loaded with color and water. Watercolors used dry (unless that's the effect you're going for) are never as satisfying. I hope that helped, at least a little bit. I'm no expert!"