CARTHAGO – CYCLES

Venu directement de BLOG DE CHRISTOPHE BEC, voici LE PLANNING GENERAL DE CYCLES DE CARTHAGO, ici mis en copie et accompagnie par ex-libris fait pour la librairie DURANGO:

La série CARTHAGO va s’articuler en trois parties.

Un premier mini-cycle comprenant les 3 premiers albums (les deux premiers dessinés par Eric Henninot, le troisième par Milan Jovanovic) :

– Le Lagon de Fortuna

– L’Abysse Challenger

– Le Monstre de Djibouti

Cette première partie boucle la première traque du megalodon et une page se tourne pour l’héroïne principale, Kim Meville.

PICTOGRAMAX - CARTHAGO 03 - EX LIBRIS - DE PROFUNDIS

Suivra un deuxième mini-cycle constitué de 2 albums, déjà écrits et qui seront dessinés par Milan Jovanovic, dont les titres seront :

– Les Monolithes de Koubé

– La Cité de Platon

Ils seront un peu plus centrés sur les personnages principaux : Kim, Lou, Donovan, le Centenaire, etc.

Et enfin, si bien entendu les lecteurs sont toujours fidèles, un troisième et dernier mini-cycle de 3 albums viendra conclure la saga.

8 albums au total.

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ART MEET #21

Nos ART MEETS continuent dans le mode “mini”, sans l’equipe entiere, manquant DRAZEN et DULE. Cette fois chez BRADA, toujours sur la decoupage de LIGNES DE FRONT:

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A droite de lui, TIHO, sur les encrages de TITANS:

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Oppose a lui, moi, (pris par DULE qui a fait juste l’apparition breve avec la famille) prennant la photo de…

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SINISA sur les crayons de MOWGLI:

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Apres la pause photographique, retour dans les egouts de Bruxelles, dans le deuxieme tome d’ARS MAGNA:

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ESQUISSE DE JOUR – 027

On my way to ART MEET #20 I made a little detour to see what I might find of watercolor material in a near-by art shop. They carry only the SCHMINCKE HORADAM line. I’ve read that the brand is well regarded, but seemingly for the vibrant and “buttery” quality of paint, not as much for the granulating properties. But nevertheless, I bought two pans to see for myself:

PICTOGRAMAX - 2013 03 19 - SCHMINCKE GOLD BROWN TEST

Schmincke GOLD BROWN is indeed a vibrant paint that wets easily and spreads smoothly; the hue has a fiery glow to it, a nicely warm orange brown. It reminds me of one of my favorite fountain pen inks, DIAMINE SEPIA, which shades in close warm tones and could have given the similar result. But Schmincke GOLD BROWN is much easier to work with; it can be moved on paper much more freely and lifting allows for a degree of correction that fountain pen ink simply does not.

But texture? No. The effects in the lower left are the consequence of dragging the dry brush, not the granulating properties of the paint itself. I would love to see some texture in darker parts, giving structure and interest, similar to HEMATITE BURNT SCARLET tested earlier.

The closest granulating hue I found on Daniel Smith’s SAMPLE CHART is POMPEII RED. Although not as warm and saturated (at least from a little paint dot used as a sample), it does produce the speckling effect I’m after:

PICTOGRAMAX - 2013 03 19 - DANIEL SMITH POMPEII RED TEST

Testing was done on small block of  BOCKINGFORD 300gr NOT watercolor paper, that I bought also out of curiosity. I like it a lot, and this is the entry line from ST. CUTHBERTS MILL. Wonder how their top SAUNDERS WATERFORD paper might be.

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ART MEET #20

Cette fois, notre ART MEET etait une edition “mini” avec juste quatre mousquetaires. De nouveau chez DULE, qui faisait les recherches de personnages pour le deuxieme tome de BIBLE:

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Le fait que beaucoup de “reguliers” ne pouvait pas nous joindre etait contre-balance par la presence de MILAN DRCA, pour la premiere fois parmi nous…

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…qui travaillait sur la decoupage de son projet d’adaptation d’Anton Chekhov:

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Il est un ancien ami d’Academie des arts appliques de TIHO, qui encrait l’illustration pour la couverture…

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…de deuxieme tome de LE DIURNE:

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Moi, je trainais dans les couloires de Palais de Justice a Bruxelles:

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THE LITTLE BIG ONES

Intended on making me a compact setup for sketching on location, I got both the smallest METAL TIN WATERCOLOR BOX and DA VINCI KOLINSKY POCKET BRUSH #8 from KEN BROMLEY. Althought advertised as lightweight, the box has solid heft to it and I quite like it, substantial in feel and seemingly durable. The lid clicks firmly when shut, tin doesn’t look as it would open unintentionally and has an additional fold-up palette. It holds up to 8 full-pans or twice as much of half-ones. On top of all that, it can just cradle the said pocket brush between the rows of paint, as if these two were meant for each other.

PICTOGRAMAX - 2013 - DA VINCI POCKET BRUSH 8 - 001

The benefit of pocket brush for painting on-the-go is obvious – not only the tip hides protected in the handle while travelling, but also the brush transforms from a tucked-away midget to a full-sized capable tool. I don’t like working with tiny brushes and this one, once set up, certainly isn’t one. It can both deliver broad strokes and point sharply for detailed work. I wouldn’t mind if it was just a bit springier, but it’s no slouch and holds a lot of paint.

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Initially I pondered going for #10, but the video of all the sizes next to each other convinced me that #8 was just the right balance between size and portability. Both the box and the brush are shown on 9X12 LANGTON PRESTIGE ROUGH 300gr watercolor block, if you might need a reference of size. The SKETCH accompaining this mini-review has been done with this brush and Daniel Smith’s HEMATITE BURNT SCARLET.

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