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We spent a couple of hours doing a 'constructivist' drawing,then placed it under a glass plate and drew over it with printing inks,then had fun making monoprints.
Prince Phillip and Samson from “Sleeping Beauty” by John Lounsbery
16 field production drawing / image is 5 ¾”h x 7w
These five drawings were made at a lovely educational dinner event I attended this week, hosted by Ute Korallus and cooked by Inés Lauber. For the guests who attended:
- these drawings belong to you as much as me- we made them together! All my event drawings are licensed Creative Commons Attribution NonCommercial NoDerivativeWorks.
That means you can print a copy and frame it, put it on a greeting card for your family, use it as a profile pic, email it to anyone you want. Any personal use is fine! You just can't use them for something you'd make money off, like mass-produced t-shirts.
All you need to do is make sure that it's credited as "By Suzanne Forbes, artist." If you want to own the original drawing, it's 50 to 100 euros depending on the amount of work involved in the particular drawing.
I hardly ever draw architecture or landscapes so these aren't exciting, but it was good to challenge myself
From 1740 edition of "Teeken-boeck," published posthumously by Bloemaert's son Frederick, along with Louis Renard and Benoit Picart.
The examples in the book were meant to be copied as examples.
Abraham Bloemaert (1566-1651)
Public Domain Book: Tableaux du temple des muses
tirez du cabinet de feu Mr. Favereau, conseiller du roy en sa Cour des Aydes, & gravez en tailles-douces par les meilleurs maistres de son temps, pour representer les vertus & les vices, sur les plus illustres fables de l'antiquité : avec les descriptions, remarques & annotations
composées par Mre. Michel de Marolles ...
Published 1676 by Chez Abraham Wolfgank in A Amsterdam .
Written in French.
openlibrary.org/books/OL24650787M/Tableaux_du_temple_des_...
Applied drawing
by Brown, Harold Haven, 1869-1932
Published 1916
Topics Drawing, Decoration and ornament
My working look: bun, fluffy bunny pajama and paws hanging on the chair while I measure and figure pattern sizes.
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Mi look de trabajo: moño, pijama peludito de conejos y patas colgando de la silla mientras tomo medidas y calculo tamaños de patrón.
Day 4 (Jan 4) of 365 of my art project. A Tea pot i was going to do a tea pot and a tea cup but i didnt feel like drawing a tea cup.
Pen & Watercolors.
i'm making an ink drawing every day in October for the Inktober challenge. i post these drawings first on my Instagram story so feel free to follow me there !
instagram: instagram.com/a.creature
tumblr: art-creature.tumblr.com
shops: artcreature.storenvy.com
Garota, flores, sinos do monastério (título da partitura usada de fundo - "Les cloches du monastére")
...
Marcadores coloridos e nanquim.
HANNA BARBERA STUDIOS
ABBOTT and COSTELLO
Original Animation TELEVISION SERIES 1967
Type: AWESOME Original Production Animation MODEL Drawing of the VILLAIN, ROCKY
from the 1967 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring ABBOTT and COSTELLO
Date 1967
NOTES:
The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.
The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)
William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)
The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.
In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.
Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.
In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.
In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.
Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances
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My Images Do Not Belong To The Public Domain - All images are copyright by silvano franzi ©all rights reserved©
sketchbook pencil drawing of Caravaggio's The Head of Medusa, one of my favorite paintings. Might add in the blood later
my stream is slowly changing from photography to art, ha
Some friends and I had a play day where we challenged ourselves to draw freely.
I used a combination of tracing paper and gesso coated calico and came up with some very interesting images
These faces were drawn on to tracing paper using a pen and ink, and then this was blotted on to some gesso coated calico.
The tracing paper image was then left to dry and later I added colour by using ink and paint on to the reverse of the paper.
I cut out the faces and then attached them to a fragment of an old book