#ringling illustration

[vollzeh]

⚡️ Ringling College of Art & Design senior self portrait 2024 ⚡️

[ollydrawings]

The Vertical Gardener

Capable of holding over 100 plants, this Bot helps you care and maintain your garden. Superstitious gardeners rumor that this bot can feel through this plants’ roots like nerves.

Realistically, I wouldn’t have a personal robot, but this guy makes me smile :)

[gameraboy2]

Ringling Bros and Barnum & Bailey Combined Circus - Prairie Bill And His Congress Of Rough Riders Of The World, 1933 poster

[clairebear-oh]

practice with procreate- freehand, mirror pic

[stripedsoxfortwo]

CHEEKY

[stone-cold-groove]

Vintage engraving.

[uwmspeccoll]

A McCrea-Illustrated Feathursday

We keep with our children’s-book theme for this #Feathersday (our last two were also from children’s books) with Ruth and James McCrea’s The Birds, originally published in New York by Atheneum in 1966. Our copy is the second printing in 1967. Both Ruth (née Pirman, 1921-2016) and James McCrea (1920-2013) were prolific artists, illustrators, designers, and picture book authors. They met as students at the Ringling School of Art in Sarasota, Florida and married in 1943 (read Ruth’s obituary for her curious connection to the Ringling Brothers Circus).

The story of The Birds concerns two feathered friends, Mr. Woolsey and Mr. Tootle, who own a fine little boat with “a beautiful umbrella to shade them both from the sun.” After a stroll one day, they discover upon their return that their umbrella is gone. But later it reappears, and the next day it’s gone again. The birds set out to solve the mystery and discover that Archibald Turtle had been borrowing it each day to shield his ailing marigold plant from the sun. What to do? They compromise by bringing Archie and his plant onto the boat with them. The marigold thrives and they all become fast friends. What nice birds!

The book jacket makes special, detailed mention of the “Spartan Binding,” shown in the last image, by H. Wolff Bindery in New York:

Spartan picture book bindings feature side sewing through drill cloth reinforcement, both endpapers, and text pages. The pyroxylin impregnated cloth is washable, damp proof, and soil resistant. The binding is guaranteed to last for the lifetime of the sheets.

After nearly 60 years, the claim holds true.

View another book illustrated by Ruth McCrea.

View more historical children’s books.

View more Feathursday posts.

[mybeingthere]

Calder was born in 1898, the second child of artist parents—his father was a sculptor and his mother a painter. In his mid-twenties, he moved to New York City, where he studied at the Art Students League and worked at the National Police Gazette, illustrating sporting events and the Ringling Bros. and Barnum & Bailey Circus. Shortly after his move to Paris in 1926, Calder created his Cirque Calder (1926–31), a complex and unique body of art. It wasn’t long before his performances of the Cirque captured the attention of the Parisian avant-garde.

In 1931, a significant turning point in Calder’s artistic career occurred when he created his first kinetic nonobjective sculpture and gave form to an entirely new type of art. Some of the earliest of these objects moved by motors and were dubbed “mobiles” by Marcel Duchamp—in French, mobile refers to both “motion” and “motive.” Calder soon abandoned the mechanical aspects of these works and developed suspended mobiles that would undulate on their own with the air's currents. In response to Duchamp, Jean Arp named Calder's stationary objects “stabiles” as a means of differentiating them.

Calder returned to live in the United States with his wife, Louisa, in 1933, purchasing a dilapidated farmhouse in the rural town of Roxbury, Connecticut. It was there that he made his first sculptures for the outdoors, installing large-scale standing mobiles among the rolling hills of his property. In 1943, James Johnson Sweeney and Duchamp organized a major retrospective exhibition at the Museum of Modern Art, New York, which catapulted Calder to the forefront of the New York art world and cemented his status as one of the premier American contemporary artists.

In 1953, Calder and Louisa moved back to France, ultimately settling in the small town of Saché in the Indre-et-Loire. Calder shifted his focus to large-scale commissioned works, which would dominate his practice in the last decades of his life. These included such works as Spirale (1958) for the UNESCO headquarters in Paris and Flamingo (1973) for Chicago’s Federal Center Plaza. Calder died at the age of seventy-eight in 1976, a few weeks after his major retrospective, Calder’s Universe, opened at the Whitney Museum of American Art, New York.

(Pace Gallery)

[teacupfullofroses27]

Ok I have a little head-cannon that I'm going to put into my fanfic because it's my fanfic and I can do what I want. We don't see Caine's room, so I like to think he lives on the train cars of a circus train that travels the grounds. The Ringling bros. had a really spiffy one and think he would too, but more wacky. Maybe the interior of one of the cars would be more refined, who knows? Also I can't draw trains can u tell

Would you guys like a little sneak peak of the next chapter??? 👀

Ok here it is

Caine didn’t have a room like the rest of the cast. He had a small series of rooms, or train cars, that were constantly pulled along by a train that traveled the circus grounds. The interior of the car he was in was mainly the same shade of his magenta suit, with accents of black. The ground rocked subtly against the rumbling tracks as the over saturated scenery rushed by. The rumbling didn’t bother him, he preferred floating anyway. A selection of books sat on a pristine bookshelf, all with matching magenta covers. “Snow White” one book’s spine read. He picked it up and flipped to the first page. Best to know your source material before making any sort of adaptation. A circular icon appeared over the ringleader’s head. It spun in circles, static overtaking his usually multicolored eyes. A horizontal bar appeared above Caine. “LOADING CONTENT”. Every now and then, a page would turn on its own, and the horizontal bar would progress a little further. 

Also, I don't think he "reads", I think he downloads content. This was the best way I could think of illustrating that 🌹

[thetoxiccupcakes]

Hello, I'm Sky/Storm!!! I graduated from college a year ago and I'm a silly Illustrator who does a wide variety of artwork, from spot illustrations to concept art, especially creature design! I also tend to make comics!

Majority of my latest works are more Sci-fi & Surreal based. If you like comics and Sci-Fi, you may be interested in a Universe that I have been developing for years, with two graphic novels in the works, AND a mini series featuring the characters from one of my future graphic novels, Astral Anomalies!

I'm moving most of my stuff to tumblr due to Ai scraping and the poor algorithm of most other social medias. Plus, I think I might have a better audience here for the type of work I make.

TLDR: I make alot of different art, but mostly original scifi based concepts and comics. So if you can please reblog and share this it would mean the world to me!💕

🌟🌟 5/5 slots open for commissions 🌟🌟

[demgozellegs]

hey hello hi there :)

I'm an artist attending Ringling College of Art and Design to get my bachelors degree in illustration. I find inspiration in a lot of stuff, like Hollow Knight, Skyrim, the outdoors, horror series, liminal spaces, dark ambient music, and more.

I'm really just here to have a good time and to post art.

Feel free to ask me any questions. I'm always down to chat about art n' astronomy! (Especially black holes and nebulas)

Currently into: Hollow Knight, Skyrim, The Nightmare King, Eldritch horrors.

I have a Ko-Fi and Discord server as well!

https://discord.gg/T7rgebYjXk

[ashleyvasquez05]

Virtual Sketchbook #3

Portrait of Madame de Bourbon-Conti as Venus

Picture: Taken from iPhone by Ashley Vasquez on 03/28/2024 at the Ringling Museum

The painting Portrait of Madame de Bourbon-Conti as Venus, made byNoel-Nicolas Coypel, is an oil on canvas that is 54.3 by 42 inches big and currently featured at the Ringling Museum of Arts. Coypel’s painting is a portrait of Elisabeth de Bourbon, Princess of Conti, who was quite beautiful and a subject of much attraction, as clearly depicted. The painting has the allure of a bright dream-like outside scenery alongside flowers and flowing silks that quickly catch people’s attention. There is a trend of light pastel colors such as light pink and white garments, a baby blue sky, and pale colors that highlight the pampered life of French court. Baby cupids also adorn Princess Elisabeth with pretty flowers, which remind the audience of her youth and charismatic charm. Coypel and Elisabeth clearly worked on creating her public image to feature this delicacy and goddess of love illusion through the balance of colors, dimensions, and rococo fragility. Being a fan of the Rococo style drew me into this painting, and while deeply inspecting it, I was reminded of feelings of love, attraction, and even womanhood because of the delicacy and love illusion imbedded within the oils, which I believe is exactly what Elisabeth and Coypel intended the audience to feel.

 The Portrait of Madame de Bourbon-Conti is associated with the Rococo art style and was painted during the Enlightenment (18th century). Although the Enlightenments focused on scientific learning and philosophical ideas of life, liberty, and separation of church and power, there was a popular appeal with elite members communicating their wealth through rococo- styled art, interior design, architecture, and more (2.1 Shifting Sensibilities: The Enlightenment and Rococo, ART 188). Princess Elisabeth, being an enlightenment follower herself, illustrated this dramatic shift from the previous baroque style into the lively rococo style when depicting herself. She and Coypel worked on illustrating her image far away from the remote, aloof, and formal style into this delicacy, lighthearted elegance conveyed through light and pastel colors (portrait of Madame de Bourbon-Conti). Understanding the imagery and alluring beauty of this painting tells the audience that Coypel enjoyed painting natural beauty and depicting love and its allure through lightness and asymmetrical pose. Ringling described it as “This Rococo pose reminds us of the change and fragility that love encounters” (portrait of Madame de Bourbon-Conti). The message of great shift and nature beauty found with youth and bright accent is illustrated throughout the painting for the audience to see, as is the image of Elisabeth as a playful and charming goddess. There are also references to how the elite's pampered life and wealth through luscious silks and pearls. There are many references and illustrations to convey the message clearly.

Overall, I think the importance of this art is to bring a different perspective to a changing society. I think it creates this idealized perspective of wealth, love, and beauty. There is something about its specific naturalistic complexity, such as the princesses’ beauty compared to previous works of art, that makes it attractive; however, there’s also referenced to love with baby cupids and imaginary figures. I believe this painting was made to catch the audience’s attention to this dream-like scenery and entice us with beauty while reminding us of love. As a woman, I particularly felt drawn to its beauty.

Sources used:

2.1 Shifting Sensibilities: The Enlightenment and Rococo – ART 188. art188.lib.miamioh.edu/18th-and-19th-century-art/1-enlightenment-and-rococo.

PORTRAIT OF MADAME DE BOURBON-CONTI. ringlingdocents.org/pages/bourbon-conti.htm.

Ringling Photos:

[ollydrawings]

First Illustration of the Semester! Theme is our Alter Ego doing something we’d never do. I could not be a surgeon

[beebrown80]

Here's a little playing card collection I made for Ringling College's 2023 Senior Illustration deck~~ It's super cool to see everyone's work put together as a little graduation memorabilia! BUT I've been debating on if I want to finish off the entire 52 deck of card designs ._. stay tuned and we'll see!!

[stefany-b]

Alex Beck

Alex Beck is an award wining painter and illustrator from Richmond, Virginia. He received a bra from Ringling College of Art and Design in Sarasota, Fl and then continued his training at the Illustration Academy in Kansas City, Missouri. His work mainly centers around people’s nostalgic memories as he draws his inspiration from different locations and old photo diaries. He often collages a number of photographs to reference his subject matter from and juxtaposes ordinary portraits with a variety of scenarios, in efforts to create conversation between his life and the life of others. The work itself also gets collaged at times with pieces that went unfinished and then painted next to.

Although Beck’s education has focused on illustration, he has moved away from the discipline in favor of a less literal form of painting. “I am not a storyteller,” he says. “I paint mood.”

Beck considers himself to be a “gestural realist.”

“I exploit realism in a way I can completely destroy it,” he explains. “ ‘Gestural realist’ leaves a lot open to interpretation.”

I love how gestural his paintings art. There seem to be imperfections in just the right places and his use of color seems so dynamic. I hope to incorporate a similar style in my own series despite this being a style I am not used to.

[btbigelow]

Jungle filled with conures. This was an assignment from college and one of the first pieces I made using the technique of scanning my pencil illustrations and coloring them without any inks. I drew a lot of birds at Ringling.

5/6/2019