I’ve posted so many thoughts and artists since our visit from Carlos San Millan that you would be reasonable to think I was about finished. This may be difficult to believe, but I still have more to post. Way, way more to post.
Many of you who were in the workshops said that you felt like you were presented with an enormous amount of information, but were unable to practice implementing the ideas in just two fast days. Many more of you were disappointed to miss the workshops entirely, since spaces sold out in the first hour of the announcement! For the people who did not have sufficient time to practice, and for the people who were not able to attend, I have designed a Thursday class series just for you: Drawing & Painting the Effects of Light. This is an offshoot inspired by our wonderful visiting artist from Spain.
Drawing & Painting the Effects of Light is not a realism class, and can be implemented in observational and abstract works alike, so artists of all media and genres are invited to sign up. The only requirement is that you have experience working in your chosen media, and foundational knowledge in whatever steps you use to create your artwork, enough so that we have something to attach the technical theories to.
More about that later. For now, please enjoy another one of Carlos San Millan’s favorite artists: Jessica Brilli. These are images that he chose for his private inspiration file.
Jessica Brilli (Sayville, NY 1977) has been drawing and painting since her childhood. Working in a style that encompasses American realism and 20th century graphic design aesthetics, Brilli’s paintings reveal the beauty in everyday scenes and objects.
Inspired by Kodachrome slides and generations-old photographs gathered from yard sales and basements across America, Brilli brings a contemporary eye to subjects often overlooked or forgotten. She sees her paintings as a way of giving renewed life to images that haven’t been seen in decades. Having had no direct experience with the images, the process of painting them takes on a different dimension for Brilli; like borrowing memories and elaborating, editing, or directing stories that intersect the knowledge and assumptions of two people who are strangers to each other.
This painting has been so boldly abstracted by flattened shapes, the figures look almost like little remnants on top of a streamlined composition, but take them away, and the painting falls down. Those little people, they’re useful remnants.
[image_with_animation image_url=”6674″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] We are almost at the end of this 30 day challenge, so I’ll be coming up with fresh topics to post. Our mailing list has grown by several hundreds of people this month, and I’d like to hear from subscribers. Why did you sign up for V. Notes, and …
Tina Kraft is a talented South Florida artist with connections to our besties at the New York Studio School. It was at NYSS where we met many of our great instructors such as Fran O’Neil, Charity Baker, Catherine Lepp, Sam Wade Levy, Shruti Ghatak, and Jonathan Harkham. Our own Keith Pfieffer is currently pursuing his …
I’ll be sharing my drawings on Facebook. I’d love for you to share yours too. Maybe we’ll get some people jumping in to join us. Post your pics on the Seattle Artist League‘s Facebook, or Instagram at SeattleArtLeague. #drawingaday #seattleartleague
Welcome another selection of faves from our January 30SAL Creative Challenge. Day 7 the challenge was to transcribe Manet’s Luncheon on the Grass. A transcription doesn’t have to be a copy, it can be a way to take an element or concept and reimagine it in another form. Some of these images were borrowed from …
Jessica Brilli
I’ve posted so many thoughts and artists since our visit from Carlos San Millan that you would be reasonable to think I was about finished. This may be difficult to believe, but I still have more to post. Way, way more to post.
Many of you who were in the workshops said that you felt like you were presented with an enormous amount of information, but were unable to practice implementing the ideas in just two fast days. Many more of you were disappointed to miss the workshops entirely, since spaces sold out in the first hour of the announcement! For the people who did not have sufficient time to practice, and for the people who were not able to attend, I have designed a Thursday class series just for you: Drawing & Painting the Effects of Light. This is an offshoot inspired by our wonderful visiting artist from Spain.
Drawing & Painting the Effects of Light is not a realism class, and can be implemented in observational and abstract works alike, so artists of all media and genres are invited to sign up. The only requirement is that you have experience working in your chosen media, and foundational knowledge in whatever steps you use to create your artwork, enough so that we have something to attach the technical theories to.
More about that later. For now, please enjoy another one of Carlos San Millan’s favorite artists: Jessica Brilli. These are images that he chose for his private inspiration file.
Jessica Brilli
From her website:
Jessica Brilli (Sayville, NY 1977) has been drawing and painting since her childhood. Working in a style that encompasses American realism and 20th century graphic design aesthetics, Brilli’s paintings reveal the beauty in everyday scenes and objects.
Inspired by Kodachrome slides and generations-old photographs gathered from yard sales and basements across America, Brilli brings a contemporary eye to subjects often overlooked or forgotten. She sees her paintings as a way of giving renewed life to images that haven’t been seen in decades. Having had no direct experience with the images, the process of painting them takes on a different dimension for Brilli; like borrowing memories and elaborating, editing, or directing stories that intersect the knowledge and assumptions of two people who are strangers to each other.
This painting has been so boldly abstracted by flattened shapes, the figures look almost like little remnants on top of a streamlined composition, but take them away, and the painting falls down. Those little people, they’re useful remnants.
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[image_with_animation image_url=”6674″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] We are almost at the end of this 30 day challenge, so I’ll be coming up with fresh topics to post. Our mailing list has grown by several hundreds of people this month, and I’d like to hear from subscribers. Why did you sign up for V. Notes, and …
Drawing of Trees by Tina Kraft
Tina Kraft is a talented South Florida artist with connections to our besties at the New York Studio School. It was at NYSS where we met many of our great instructors such as Fran O’Neil, Charity Baker, Catherine Lepp, Sam Wade Levy, Shruti Ghatak, and Jonathan Harkham. Our own Keith Pfieffer is currently pursuing his …
Drawing A Day: Day 3
I’ll be sharing my drawings on Facebook. I’d love for you to share yours too. Maybe we’ll get some people jumping in to join us. Post your pics on the Seattle Artist League‘s Facebook, or Instagram at SeattleArtLeague. #drawingaday #seattleartleague
#30SAL Faves: Manet’s Luncheon on the Grass
Welcome another selection of faves from our January 30SAL Creative Challenge. Day 7 the challenge was to transcribe Manet’s Luncheon on the Grass. A transcription doesn’t have to be a copy, it can be a way to take an element or concept and reimagine it in another form. Some of these images were borrowed from …