All posts by The Artist

Artist, Designer & Photographer

Photo Study: Sunday Morning Coming Up

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Sunday Morning Coming Down, written by Kris Kristofferson and made immortal by Johnny Cash, has been called the “best drinking song of all time.” It’s not a song about drinking, per se, but rather the dreadful morning after a big Saturday night out. But, before Sunday morning can come down, Sunday morning must come up. So here is what a bright Sunday morning coming up looks like through the eyes of a photographer, not necessarily through the eyes of a person who might be experiencing the pain of the song at the moment.

Sunday Morning Coming Up
©2009 Eric Hatheway
All Rights Reserved
Well I woke up Sunday morning,
With no way to hold my head that didn’t hurt.
And the beer I had for breakfast wasn’t bad,
So I had one more for dessert.
Then I fumbled through my closet for my clothes,
And found my cleanest dirty shirt.
An’ I shaved my face and combed my hair,
An’ stumbled down the stairs to meet the day.

I’d smoked my brain the night before,
On cigarettes and songs I’d been pickin’.
But I lit my first and watched a small kid,
Cussin’ at a can that he was kicking.
Then I crossed the empty street,
‘n caught the Sunday smell of someone fryin’ chicken.
And it took me back to somethin’,
That I’d lost somehow, somewhere along the way.

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Photo Study: Untitled Buoy No. 1

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A buoy is a floating device that can have many different purposes. It can be anchored (stationary) or allowed to drift. There are many types of buoys in use today with names such as submarine buoy, sea mark buoy, life buoy, sonobuoy, surface marker buoy, decompression buoy, shot buoy, fairway buoy, tsunami buoy, marker buoy and lobster trap buoys (among many more types). Here is one type of buoy. Not sure what kind it is so we’ll call it Untitled Buoy No. 1. A study in color, contrast, isolation and dependence.

 

©2009 Eric Hatheway
All Rights Reserved
GeoTag 36.121094° N, 95.986885° W
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Photo Series: The Tulsa Tea Party

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A modern day revolt in the way of a “Tea Party.” With obvious references to the Boston Tea Party in 1773, dissatisfied American citizens showed up in various cities across America on Friday February 27th to send a clear message to the politicians in Washington. Packing tea bags and pork rinds, these protesters showed up to protest what they perceive as a villain – the United States Congress and the Executive branch of our government. Little did they know that a metaphor for the villain himself was right in their midst. Grinning in the most evil of ways as his wallet gets stuffed with our dollars – he is not afraid to look us right in the eyes as he robs us blind. These citizen protesters will certainly have a fight on their hands. Viva la revolution!

 

 

 

All Images ©2009 Eric Hatheway
All Rights Reserved
GeoTag:  36.134109° N, 95.986755° W
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Photo Series: Power Hungry

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It’s all about power isn’t it? Power is the ultimate aphrodisiac so they say. But, the way that power is grabbed by the power hungry is anything but sexy. It’s dirty, unethical and immoral even by our diminishing standards of conduct.

Today, the power hungry are making power grabs and grubbing at all the money that goes with it. And, every so often, an appropriate visual metaphor will present itself in the light of current of events. Witness the power hungry in the form of visually rhetorical trope.

 

 Power Hungry
©2009 Eric Hatheway
All Rights Reserved

GeoTag
36.089668° N, 95.937126° W

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On: Animation Techniques

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Basic graphic animation is produced by a technique called stop-frame cinematography. The camera records, frame by frame, a sequence or succession of drawings or paintings that differ only fractionally from one another. The illusion of progressive movement is created by projecting the series of frames through a camera at the normal rate for sound film (24 frames a second). The same method is used in puppet or object animation; the position of the figures or objects is changed very slightly prior to each exposure. In graphic animation, the drawings may vary from the simplest outlines, as in such traditional animated films as Felix the Cat, to elaborately modeled and colored paintings, such as those produced in Walt Disney’s studios during the 1930s.

 

The first animated cartoons were produced before 1910 by pioneers such as Emile Cohl of France and Winsor McCay of the United States, whose Sinking of the Lusitania (1918) has been called the first animated feature film. In these early productions, a simple drawing of a mobile figure was photographed against an equally simple background, and a new drawing was required for each exposure. Relief from the labor of drawing hundreds of pictures for each minute of action came only when the figures could be made momentarily static. The evolution of cel (for celluloid) animation after 1913 enabled animators to use a single, more elaborate background for each shot or scene in the action. The mobile figures in the foreground were inked in black silhouette on transparent celluloid sheets and then superimposed in series on the background.

 

With the introduction of color filming early in the 1930s, animators began to use opaque paints in place of black ink. Greater efficiency was achieved when artists began to specialize in particular figures or other mobile elements of cartoons. Such teams of animators collectively created drawings for feature-length films, for example, Walt Disney’s Snow White and the Seven Dwarfs (1937) and Fantasia (1940). Most animated films are recorded by an automated rostrum camera. The many improvements made in this camera since the 1950s have contributed to the increased technical capabilities of the medium. The adjustable camera is suspended above the horizontal table on which the combination of cels, one upon the other, have been superimposed on the background and locked or pegged into position. The cels are then successively photographed to produce a precision image offering a faultless illusion of movement. Such cinematic effects as tracking, panning, and zooming may also be achieved.

Art Inspired By Mad Men

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Well not actual mad men, but the Madison Avenue ad men from Sterling Cooper on AMC’s runaway hit show Mad Men. Graphic designer and illustrator Dyna Moe, from New York City, was asked by a cast member (Rich Sommer, who plays Harry Crane) to create a custom Christmas card to give to his fellow “advertising colleagues.” The style in which she works fits the design motifs and artistic sensibilities of the early 1960s that so thoroughly permeates Mad Men. There is now at least one of these wonderfully cool illustrations for each episode of the stylish television show.

 
 
 

To see all of Dyna Moe’s fine stylish illustrations inspired by Mad Men, please visit her Flickr site or her blog. You can get desktop wallpapers and even iPhone wallpapers through these sites. You can also purchase this art as fine art prints from Dyna Moe’s Zazzle site. Don’t miss checking out this swanky stuff inspired by the early 1960s and the AMC hit series Mad Men.

 

Rest In Peace: Robert Rauschenberg

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Robert Rauschenberg, American artist, died May 12 at the age of 82. Rauschenberg is considered by many to be one of American’s most influential artists and he was instrumental in the transition from the Abstract Expressionism movement of the late 1950s to the Pop Art movement of the early 1960s. Rauschenberg is most famous for his series of “Combines” in which he employed non-traditional materials and objects in very unusual ways. Rauschenberg was known for collecting interesting pieces of trash on his walks through New York City for use in his works. His “Combines” are considered both painting and sculpture.

 

Rauschenberg’s formal art training is nearly as impressive as his storied career. Born in Port Arthur, Texas, he attended art school at the legendary Black Mountain College near Asheville, North Carolina where he studied under the rigorous teachings of famous Bauhaus artist Josef Albers. Rauschenberg also studied art with New York School artists Franz Kline and Jack Twokov as well as photographer Aaron Siskind. He met John Cage and learned about performance and its link to mulit-media art which would become an important part of his later works. Besides his works of art, Rauschenberg will also be well remembered for his fearless experimentation and unending innovation.