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Grade: Third
Lesson Duration: 60-90min
Subject Matter: Technology/ Science
California Content Standard” Grade Three: Science (Life Science)
Adaptations in physical structure or behavior may improve an organism’s chance for survival. As a basis for understanding this concept:
a. Students know plants and animals have structures that serve different functions in growth, survival, and reproduction.
Technology Standards: Grades 3-5
Use technology resources (e.g., calculators, data collection probes, videos, educational software) for problem solving, self-directed learning, and extended learning activities.
Materials: Computer, Photo sharing software (Microsoft PhotoDrawV2), fact sheet with list of parts of a flower ( stem, leaf, petal, sepal, ovary, anther, pollen tube, stigma, style, filament, stamen, pistil)
Pre Activity: Read Flowering Plants (In Touch With Nature Series)
by John Farndon
Prep: Teacher will explain the project, display images and show various features on Microsoft PhotoDraw and show sample of what is expected.
Activity:
1.Students will look on Flickr.com to view posted photos of parts of the flower
2.Students will create a folder on their desktop and title it “FLOWER”
3.Students will download each picture to their FLOWER folder
4.Students will open Microsoft PhotoDraw V2 and open a new project page
5.Students will insert each image from their FLOWER folder onto their empty project page, placing the images to shape their flower as a whole.
6.Students will design their flower using the various COLOR features available on Microsoft PhotoDraw
7.Students will then label each part using the TEXT feature and the LINE drawing feature available on Microsoft PhotoDraw.
Assessment: Observe children while working on project. Ask questions periodically.
(See Rubric for expectations and grading)
The final comic for the month of February. Two of my characters exchange art ideas for the new web series. I did the background for the drawing featuring the new 2016 Acura NSX on the Cintiq.
Adobe Photoshop with Sketchbook Pro on the Cintiq
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
An ATC made for a themed swap on swap-bot.
Swap: "Four Seasons" swap
Series 3/4
Featuring: Fall leaves
Original
Watercolors, punch outs, ribbon, hand drawing
Featured in "Four Seasons ATCs": phdead.net/?p=123
Ok...this picture needs background info. Someone from Planned Parenthood was doodling and came up with all these drawings featuring penises and vaginas. Who knew baby jesus was nestled into a vulva? I could have sworn the it was a cradle.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
March 16th 2012 marked Steelcase's 100 year anniversary. As a celebration, Steelcase launched a "100 Dreams, Minds, Years" campaign. The project was curated by Mr. John Hockenberry and was revealed at their global headquarters in Grand Rapids, MI. This campaign asks others what they dream the future will be like in 100 years. The drawings featured in this video were drawn by children of the employees at Texas Wilson in San Antonio Texas (a Platinum Partner of Steelcase).
This video also used parts of Steelcase's "Bring Your Dream: trailer" (www.youtube.com/watch?v=JF_Y0U-fBU8)The song used is "Moth's Wings" by Passion Pit.
Please visit 100.steelcase.com for more information.
On display in the Alte Nationalgalerie in Berlin
www.smb.museum/en/museums-institutions/alte-nationalgaler...
In his sculptures of dancers, Edgar Degas sought to capture the female body in motion and in strenuous ballet postures. Many of his models were young and impoverished ballerinas at the Paris Opéra. In 1910, one of his regular models, known only as Pauline, described the physical strain of holding this posture. She did this repeatedly over many sessions. Four sculptures and numerous drawings feature this pose.
And a message. An awesome message.
Greetings, Santee, from your G&T Secret Santa!
I've made a couple silly drawings for you, included here. The Santathulhu drawing and proxy account were made because you have "cthulhu" in your screen name. So it seemed like the thing to do. The other drawing, featuring a couple TF2 characters, was based on something I saw in your post history, about wanting to see a Medic with Archimedes on his head. Well, I drew that, but then I drew some other stuff in there, too. Dinosaur, Spy, other dinosaurs. If you'd like higher-resolution versions of these drawings, you can download them in a handy .zip file. It's the same two images- just bigger.
Some physical gifts have begun their journey to you, from the mighty Amazon. Hopefully, they are things you'll like, but don't have yet. Estimated delivery date is... A SECRET. (Santathulhu might contact you again, closer to when the package should arrive.)
There's also a steam gift link in here, but Santa's identity will be revealed when you click on it. So, if you want to preserve the mystery a bit longer, you can wait to click it, until the main gifts arrive. Or not. You can click it now, if you're really curious!
Merry Thanksgiving and Happy Christmas,
SANTA
Paul Ewing charcoal drawing featured in Faculty Art Show, Verde Campus Art Gallery, Yavapai College, Fall 2010.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Experimental mixed media drawing featuring found images and photographs taken at the Victoria and Albert Museum, white paint and fine liner.
Homage to Svetlana Tursunova-Frank, her series of pencil drawings featuring Japanese art. I've used Street Art (on Prague s.a.) book as a reference.
This is a double page spread of a magazine I created in the editorial brief on the Graphic Design pathway. I used letter transfers to play with the layout of text and incorporated them into my page designs. Some of the drawings featured on this double page spread are observational drawings, and others I drew from looking at my own photographs from a previous "Life" brief, where I focused on a public space of my choice, which was a victorian market in Jersey, Channel Islands.
This is my Week Six project submittal. It shows my Week Four project in a manner similar to a drawing featured in archdaily.com's "Best Architecture Drawings of 2019" gallery, called Polour Villa, created by Special Space Studio. It's a fun way to present multiple architectural drawings all in one big, comprehensive drawing. It was a little challenging to make, and it's not perfect, but I think it gets the job done.
✰ This photo was featured on The Epic Global Showcase here: ift.tt/1OAZg0O
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》Featuring The Amazing: @justcreativeartist_ ┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄
🎨Amazing art 💟💟 By : @kanoelani_life . . 💡please follow them , and leave a nice comment 💟 ___ ⚠ any “ follow/featureme ” “ check out my artwork/account” comment’s will be deleted It is disrespectful to the artist ___ Use #justcreativeartist for the chance to be feature 🌹 ___ #artmagazine #art_worldly #art #art_spotlight #art_sanity #art_realisme #art_realistic #drawinggrid #artist_4_shoutout #artist_sharing #artist_features #spotlightonartists #bestofarts #bestoftheday #talent #talnt #theartist #drawing_pencile #drawing_feature #phanasu #colorful #colouredpencil #prismacolor #art_prime #art_empire #art_help #instagood
✰Follow @justcreativeartist_ on Instagram for more awesomeness like this!
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Mixtape label artwork displayed at the Seattle Art Museum. The artwork is a black and white label with handwritten text and drawings, featuring the name of bands Bestie Boys, Butthole Surfers and others. The label is torn on the edges and has a black border. The photo is taken from a close-up angle, showing the details and texture of the label.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.
Drawn from Tim Burton’s personal archive and representing the artist’s creative output from childhood to the present day, this exhibition of 500 drawings, paintings, photographs, sketchbooks, moving-image works, and sculptural installations focuses on the recurrent visual themes and motifs that resonate in the distinctive characters and worlds found in Burton’s art and films.
While Tim Burton had been previously known almost exclusively for his cinematic work, including Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Tim Burton’s The Nightmare Before Christmas (1993), Ed Wood (1994), Big Fish (2003), Corpse Bride (2005), and Sweeney Todd (2007), the international exhibition of Burton’s art displays the full range of his creative production, revealing a versatile artist whose unique vision transcends mediums and formats.
The exhibition reveals an inimitable style that is informed by Burton’s specific perspective. His amalgamations of man, animal, and machine are evocative of an artistically-inclined Dr. Frankenstein with an unfettered imagination. The interplay between horror and humor figures prominently in Burton’s art and films and this theme of the “carnivalesque”—the mixture between comedy and the grotesque—is seen in projects from Batman to Alice in Wonderland (2010). Perhaps his most notable and well-known motif, the soulful melancholy of Burton’s iconic misunderstood outsiders—from Edward Scissorhands and Jack Skellington to the Corpse Bride and Frankenweenie—is deftly expressed in the drawings featured in the exhibition.
Timothy Walter Burton (b. 1958) grew up in Burbank, California, a homogenous suburban American neighborhood that compelled Burton to find respite and escape from its blandness. Guided by the movies on television, comics in the newspapers, myths and fables told in school, and other forms of popular culture as well as the holiday seasons (when houses and lawns in his neighborhood were decorated with festive trappings), Burton incorporated these lifelong influences into his art at an early age. His childhood sketches demonstrate Burton’s range and call to mind the work of his predecessors, including classic cartoonists and illustrators such as Edward Gorey, Charles Addams, Don Martin, and Theodore Geisel. The impact of Japanese monster movies, Expressionist Cinema, Universal Studios’ horror catalog, and suspense maestros William Castle and Vincent Price also permeate Burton’s work.
Comprised of works from his signature films and projects including The Nightmare Before Christmas and The Melancholy Death of Oyster Boy and Other Stories (1997) to never-before-exhibited artworks, The World of Tim Burton is a deeply engaging experience that gives the public access to the artist’s very personal and singular output.
“The World of Tim Burton” is organized by independent curator Jenny He in collaboration with Tim Burton Productions.