#Townscape Illustration

[fantasista0077]

Floral Cafe. A charming cafe illustration for phone wallpaper. AI .

[tootditoot]

I always loved the look of rough drafts and sketches, there is something appealing in the unfinished and on-going

[rainmacaroni]

In my rewatch of Spirited Away , this ethereal scene ,

made me think of this breathtaking concept art for the Tangled movie ,

[li-louie]

Alchemist's shop.

You need to know the precise location, or you will miss this tiny shop, tucked away in the labyrinthine alleys of the ancient city. Its owner will look like a regular trader to you: friendly, a bit weary. He will even offer you a cup of tea if he is not busy. (and keep his true merchandise hidden behind seven locks)

[pirateofdeserts]

Winter fun!

[icopixelcraft]

Sunset Sojourn: A Japanese Street Symphony

as the day fades into twilight, a solitary figure navigates the bustling streets, awash in the rich hues of anime art and the intricate details of atmospheric urban landscapes

[berskan]

wonderous tales from the bard

[fcyrah]

"...There used to be a statue that I liked here."

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[vintagerpg]

As I mentioned yesterday, I really love Jason Eckhardt’s work on the Lovecraft Country sourcebooks for Call of Cthulhu, particularly the desolate townscapes in Escape from Innsmouth. Right around the same time that came out, Necronomicon Press released Brian Stableford’s The Innsmouth Heritage (1992), also illustrated by Eckhardt. It gave the artist a chance to restore the fishing town to some of its glory, after a fashion.

The story is an interesting one, which sees Innsmouth under redevelopment. A geneticist and a historian discuss the town and hash out a plausible theory for the “taint” and all the legends around the town. We readers, think we know the truth, but Stableford does a good job of subverting expectations back and forth. It’s a solid story and was a key component for ’90s Stu figuring out how to read Lovecraft in different ways.

Eckhardt contributes to that in a visual way, twinning his decayed Innsmouth with this revived one, even if our clearest view of it is on the cover. What a job though! It captures a sense of a seaside tourist town while also maintaining a sense of the sinister in the distorted reflections.

[fantasista0077]

Floral Alley. A charming townscape illustration for phone wallpaper. AI & Retouch.

[abwwia]

Rose Maynard Barton

Rose Mary Barton RWS (Dublin 21 April 1856 – 1929)was an Anglo-Irish artist; a watercolourist who painted landscape, street scenes, gardens, child portraiture and illustrations of the townscape of Britain and Ireland. Via Wikipedia

[worawat7]

About my favorite painter

Today I will recommending about my favorite painter. As my favorite hobbies is drawing so you might interested in the painter that i am introducing today

the painter is Rose Maynard Barton.Rose Barton was born in Dublin in 1856. Her father was a lawyer from Rochestown county Tipperary and her mother family was from county Galway.She was cousins with sisters, Eva Henrietta and Letitia Marion Hamilton.In 1879, she joined the local committee of the Irish Fine Art Society.Afterwards she trained at Paul Jacob Naftel’s art studio in London.Rose like Butler, studied under Naftel. In 1882 she exhibited her picture Dead Game,at the Royal Hibernian Academy (RHA). In 1884, she exhibited at the Royal Academy (RA). Later, she showed at the Japanese Gallery, the Dudley Gallery and the Grosvenor Gallery in London. In 1893, she became an associate member of the,Society of painters in Water Colours attaining full membership in 1911.Barton's watercolours and townscapes were becoming well known in both Dublin and London. This was helped by her illustrations in books of both cities including Picturesque Dublin, Old and New by Francis Farmer and her own book Familiar London.Finally she died in 1929.And my favorite painting of her is "A rest in rotten row"

[mi4012shizashaiyan]

PERSPECTIVES AND CAMERA ANGLES

Perspective gives a three-dimensional feeling to flat images and inorder to achieve this effect, you need to draw nearer objects larger than further objects.

The rules of perspective apply to all subjects: landscape, townscape, still life, portraiture, figure painting, etc.,

To understand perspective, we must consider three essential features of our visual perception:

Objects appear to get smaller as they recede from us

Shapes closer to the viewer obscure and overlap objects further away

Parallel lines seem to converge towards a common point in the distance - 'the vanishing point'

Viewpoint in perspective:

This point is decided when you plan your composition and can either be normal (standing up), low (sitting on a chair or lower), or high (when you are looking down on a scene).

Horizon line in perspective:

Objects above the horizon line slant down towards it; things below the horizon line slant up towards it. If a shape straddles the horizon line, then the lines will go both up and down.

One-point perspective:

One-point perspective is the simplest one as it refers to having only one vanishing point as a reference in the drawing. It is used when drawing objects we face 'front on', whose parallel lines converge towards one point in the horizon.

Two-point perspective:

Two-point perspective is used when no single surface of the object we are drawing is parallel to the drawing paper's horizontal plane.

Three-point perspective:

Three point perspective is a technique used in visual arts, particularly in drawing and illustration, where three vanishing points are used to create the illusion of depth and space in a two-dimensional image.

Camera Angles:

[khrisgraphic]

QUAND L'OMBRE RENCONTRE LA LUMIÈRE / PIERRE RIOLLET from Christophe Passenaud on Vimeo.

Au-delà de la symbolique du tunnel, c'est à la fois l'effet graphique et esthétique qui m'intéresse dans ce thème. Quel que soit le sujet, le cadre magnifie la lumière et nous la renvoie, spectateur, aveuglant par son intensité. J'aime le contraste du cadre sombre, guidant le regard vers une ouverture brillante et abstraite, laissant l'imagination se précipiter dans et hors de l'espace de l'image. L'idée de passage et de transition s'y exprime inévitablement. ‍ Pierre Riollet est né le 25 avril 1963 et est diplômé de l'Ecole Supérieured'Art Auguste Renoir de Paris en 1983. Après 20 ans passés dans la Publicité, comme Directeur Artistique, il décide de se consacrer exclusivement à la peinture en 2003. L'œuvre de l'illustrateur Norman Rockwell l'amène à s'intéresser au mouvement réaliste américain. Les artistes,Edward Hopper et surtout Robert Cottingham, l'influencent à cette époque. À la suite d'un voyage aux États-Unis en 1987, il entame un corpus d'œuvres à grande échelle, mettant en scène des façades américaines et leurs ombres projetées. Deux ans plus tard, en 1989, il présente ces peintures dans sa première exposition personnelle. Parallèlement à ses peintures de façade, il travaille d'autres sujets, natures mortes et paysages, avec diverses techniques (aquarelle, lavis et dessins) et publie un livre illustrant un de ses fétiches favoris : les tongs ! Cette exposition présente une rétrospective d'œuvres récentes et passées traitant de paysages urbains, à l'huile et à l'acrylique. Ce sujet lui est cher depuis près de deux décennies maintenant. Après avoir longuement travaillé sur les façades, il embrasse désormais le contrejour toujours séduit par la lumière et les contrastes profonds. C'est l'essence même de sa recherche artistique aujourd'hui.

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Beyond the symbolism of the tunnel, it is both the graphic and the esthetic effect which interest me in this theme. Whatever the subject is, the framework magnifies the light and sends it back to us, the viewer, blinding in its intensity. I like the contrast of the dark frame, steering the eye towards a brilliant and abstract opening, letting the imagination rush in and on out of the picture space. The idea of passage and transition are inevitably expressed here.

Pierre Riollet was born on April 25th, 1963 and graduated from the Auguste Renoir School of Art, Paris in 1983. After 20 years spent in Advertising, as an Artistic Director, he decided to dedicate himself exclusively to painting in 2003. The artwork of the illustrator, Norman Rockwell, led him take an interest in the American Realist Movement. The artists, Edward Hopper and in particular, Robert Cottingham, influenced him at this time. Following a trip to the United States in 1987, he began a body of large scale works, featuring American facades and their projected shadows. Two years later, in 1989, he presented these paintings in his first one man exhibition. Parallel to his facade paintings, he worked on other subjects, still lives and landscapes, with various techniques (watercolor, ink-wash and drawings) and published a book illustrating a favourite fetish of his: "flipflops"! This exhibition presents a retrospective of recent and past works dealing with "townscapes", in oil and in acrylic. This subject matter has been dear to him for almost two decades now. Having worked at length on "facades", he now embraces "contre jour" always seduced by the light and the deep contrasts. This is the vital essence of his artistic research today.

[foxandrabbitart]

A place to escape to. I thoroughly enjoyed working on this piece based on a little town I built in Townscaper. The game is so cute and soothing and really inspired me to create art based on it. Can you find all the small details I added?

[kassicalart]

Finished! Decided to take some inspiration from Townscaper and take some time with a lot of little details, and ultimately I can’t decide which version I like most. Open up in full view to explore!