July 31, 2013
Wander Over Yonder - Opening Title Sequence
Storyboards: Craig McCracken, Dave Thomas, Vaughn Tada, Chris Houghton
Art Direction: Alex Kirwan
Animation: David Gemmill, Justin Nichols
Backgrounds: Chris Tsirigiotis, Alex Kirwan
Edit/Composite: Joe Pitt
July 30, 2013
Buta
Artwork/Layouts by Christophe Ferreira for “Buta" - a French/Japanese feature film project (also known as “Kistune").
A pilot was produced by Telecom studio, with Kazuhide Tomonaga as animation director.
A pilot was produced by Telecom studio, with Kazuhide Tomonaga as animation director.
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The Pixel Painter
Hal Lasko, better known as Grandpa, worked as a graphic artist back when everything was done by hand. His family introduced him to the computer and Microsoft Paint long after he retired.
Now, Grandpa spends ten hours a day moving pixels around his computer paintings. His work is a blend of pointillism and 8-Bit art.
Meet 97-year-old Hal Lasko, The Pixel Painter.
See more work at hallasko.com
Director: Josh Bogdan (joshbogdan.com)
Director: Ryan Lasko
Editor/Writer: Josh Bogdan
Director of Photography: Topaz Adizes (topazadizes.com)
Original Music: Jarrod Pedone
Original Music: Tyler H. Brown (thbproductions.com)
hallasko.com
July 28, 2013
July 27, 2013
Freelance Artists' Survival Reference Books
Via Guys With Pencils
- For Illustrators and Graphic Designers -
1. Talent is Not Enough: Business Secrets for Designers by Shel Perkins
http://www.amazon.ca/Talent-Not-Enough-Business-Designers/dp/0321702026/ref=sr_1_2?ie=UTF8&qid=1367289738&sr=8-2&keywords=talent+is+not+enough
2. The Business of Design: Balancing Creativity and Profitability by Keith Granet
http://www.amazon.ca/Business-Design-Balancing-Creativity-Profitability/dp/1616890185/ref=sr_1_2?s=books&ie=UTF8&qid=1367289951&sr=1-2&keywords=business+of+design
3. How to be an Illustrator by Darrel Rees
http://www.amazon.ca/How-Be-Illustrator-Darrel-Rees/dp/1856695301/ref=sr_1_1?s=books&ie=UTF8&qid=1367290013&sr=1-1&keywords=how+to+be+an+illustrator
4. The Graphic Design Business Book by Tad Crawford
http://www.amazon.ca/GRAPHIC-DESIGN-BUSINESS-BOOK-Crawford/dp/1581154305/ref=sr_1_1?s=books&ie=UTF8&qid=1367290082&sr=1-1&keywords=graphic+design+business+book
5. G.A.G.’s Handbook of Pricing and Ethical Guidelines by Graphic Artists Guild
http://www.amazon.ca/Graphic-Artists-Handbook-Pricing-Guidelines/dp/0932102158/ref=sr_1_1?s=books&ie=UTF8&qid=1367290172&sr=1-1&keywords=handbook+pricing+ethical+guidelines
(All the above books include sample contracts)
6. The Strategic Designer: Tools and Techniques for Managing the Design Process by David Holston
http://www.amazon.ca/Strategic-Designer-Techniques-Managing-Process/dp/1600617999/ref=sr_1_1?s=books&ie=UTF8&qid=1367290316&sr=1-1&keywords=the+strategic+designer
7. The Designer’s Guide to Marketing and Pricing: how to win clients and what to charge them by Ilise Benun and Peleg Top
http://www.amazon.ca/Designers-Guide-Marketing-Pricing-Clients/dp/1600610080/ref=sr_1_1?s=books&ie=UTF8&qid=1367290403&sr=1-1&keywords=designers+guide+to+marketing+and+pricing
8. The Designer’s Guide to Business and Careers: how to succeed on the job or on your own by Peg Faimon
http://www.amazon.ca/Designers-Guide-Business-Careers-Succeed/dp/1600611567/ref=sr_1_1?s=books&ie=UTF8&qid=1367290459&sr=1-1&keywords=designers+guide+to+business+and+careers
- For Illustrators and Graphic Designers -
1. Talent is Not Enough: Business Secrets for Designers by Shel Perkins
http://www.amazon.ca/Talent-Not-Enough-Business-Designers/dp/0321702026/ref=sr_1_2?ie=UTF8&qid=1367289738&sr=8-2&keywords=talent+is+not+enough
2. The Business of Design: Balancing Creativity and Profitability by Keith Granet
http://www.amazon.ca/Business-Design-Balancing-Creativity-Profitability/dp/1616890185/ref=sr_1_2?s=books&ie=UTF8&qid=1367289951&sr=1-2&keywords=business+of+design
3. How to be an Illustrator by Darrel Rees
http://www.amazon.ca/How-Be-Illustrator-Darrel-Rees/dp/1856695301/ref=sr_1_1?s=books&ie=UTF8&qid=1367290013&sr=1-1&keywords=how+to+be+an+illustrator
4. The Graphic Design Business Book by Tad Crawford
http://www.amazon.ca/GRAPHIC-DESIGN-BUSINESS-BOOK-Crawford/dp/1581154305/ref=sr_1_1?s=books&ie=UTF8&qid=1367290082&sr=1-1&keywords=graphic+design+business+book
5. G.A.G.’s Handbook of Pricing and Ethical Guidelines by Graphic Artists Guild
http://www.amazon.ca/Graphic-Artists-Handbook-Pricing-Guidelines/dp/0932102158/ref=sr_1_1?s=books&ie=UTF8&qid=1367290172&sr=1-1&keywords=handbook+pricing+ethical+guidelines
(All the above books include sample contracts)
6. The Strategic Designer: Tools and Techniques for Managing the Design Process by David Holston
http://www.amazon.ca/Strategic-Designer-Techniques-Managing-Process/dp/1600617999/ref=sr_1_1?s=books&ie=UTF8&qid=1367290316&sr=1-1&keywords=the+strategic+designer
7. The Designer’s Guide to Marketing and Pricing: how to win clients and what to charge them by Ilise Benun and Peleg Top
http://www.amazon.ca/Designers-Guide-Marketing-Pricing-Clients/dp/1600610080/ref=sr_1_1?s=books&ie=UTF8&qid=1367290403&sr=1-1&keywords=designers+guide+to+marketing+and+pricing
8. The Designer’s Guide to Business and Careers: how to succeed on the job or on your own by Peg Faimon
http://www.amazon.ca/Designers-Guide-Business-Careers-Succeed/dp/1600611567/ref=sr_1_1?s=books&ie=UTF8&qid=1367290459&sr=1-1&keywords=designers+guide+to+business+and+careers
July 26, 2013
July 25, 2013
July 24, 2013
On Departure
The very personal short film by Eoin Duffy about the loss of his younger brother.
Eoin is an Irish animator/director based in Vancouver, he has created a body of independent work that has won him multiple creative-grants and awards, as well as screenings at international film festivals globally along with numerous write-ups throughout the film community, both online and off.
Eoin is an Irish animator/director based in Vancouver, he has created a body of independent work that has won him multiple creative-grants and awards, as well as screenings at international film festivals globally along with numerous write-ups throughout the film community, both online and off.
Tezuka Osamu's "Tale of Street Corner" (1962)
The scene is set with a poster on a street corner, a girl who cherishes her teddy bear, a street lamp and a playful moth that is drawn to the lamp. These creatures and inanimate objects, each with their own dramas, get involved in a war that ends in tragedy.
"Tulkou" directed by Mohamed Falilou Fadera & Sami Guellai
Produced by Les Films du Poisson Rouge & Dailymotion
July 23, 2013
ACT Collaboration Project - Darius Milhaud's "La création du monde"
On Friday, July 12th at Grays Civic Hall, Essex, the Orchestre Symphonique de Bretagne performed a programme of music on the theme of 'rhythm'. The programme of music explored ideas of rhythm in classical music and in the celebrated jazz of the late Dave Brubeck. The director of the Orchestre Symphonique de Bretagne, Marc Feldman, challenged the CGAA community to work collaboratively to create an original work of animation designed to accompany his orchestra's performance of one particular example of early twentieth century music that blends classical and jazz rhythms to exciting effect. The animation was rear projected onto a large screen measuring 8.5m wide by 6.2m high, in front of which the Orchestre Symphonique de Bretagne performed live.
For lots more info go here.
Art Story
It's a story about an 11-year-old, meticulous boy, WALT, and his crazy, loopy GRANDPA -- two complete opposites -- who get stuck in a vast, imaginative WORLD OF PAINTINGS. Inside, they cross paths with a ruthless painted character determined to make it into our world. In order to get home and stop the villain, Walt and Grandpa have to set aside their differences, work together and navigate worlds where the rules can change around every corner.
It's structured like a hilarious, character-driven, buddy picture ("Planes, Trains & Automobiles," "I Love You, Man" etc.), but takes place INSIDE THE WORLD OF SOME OF THE GREAT MASTER PAINTINGS OF ALL TIME ... where the characters change their appearance to match the style of each painting -- and meet lots of wildly entertaining characters. It also explores and was inspired by that special relationship between a grandchild and their grandparent -- not something you see often in films nowadays.
Help contribute some funds to get the film made.
Go here.
July 22, 2013
Pardon My Dust - Perter han
Pardon My Dust, takes you into a world of art very much unexplored and discovers a unique sketch adventure that has become a very special art form. A canvas, many of us have seen, but never used, Peter Han has transformed into chalk art. Witness Peter’s incredible talent as he discusses how he achieves his calculated art of illustrating, he calls “Dynamic Sketching.”
Via OnAnimation
Via OnAnimation
July 21, 2013
July 20, 2013
July 19, 2013
July 18, 2013
July 17, 2013
DC uploads a slew of animated shorts to YouTube
If you haven't gotten a chance to watch DC Nation on Cartoon Network, you can now watch tons of the show's greatest shorts, including Super Best Friends Forever, Amethyst: Princess of Gemworld, and World's Funnest.
Bleeding Cool spotted the massive upload to the DC Comics channel on YouTube last week. Some of these were posted on Flooby before, but it's nice to see them online at a decent quality from DC itself.
Super Best Friends Forever
Amethyst: Princess of Gemworld
DC Nation's Farm League
Plastic Man
Thunder & Lightning
DC's World's Funnest
The Bat Man of Shanghai
Animal Man
Superman of Tokyo
Via iO9
July 16, 2013
July 15, 2013
Voice Actress - Cree Summer
In all, Summer has voiced over 100 animated characters between 1983 and 2006. These have spanned the realm of video games, cartoon television series, animated films and commercials. Among her most famous roles was in Inspector Gadget (Season 1) as Penny (a role she reprised in the Robot Chicken episode "Adoption's an Option"), and Tiny Toon Adventures (1990) as Elmyra Duff (which she reprised for Pinky, Elmyra & the Brain)
In the first season Drawn Together DVD commentary she stated that she was originally hired to do the voice of Meg Griffin on Fox's animated series Family Guy, but was fired by the producers.
Summer is a frequent co-star of Canadian-American actress Tara Strong, the two are childhood friends, both having grown up in Ontario.
See full credits list here.
Cree Summer's Official Twitter:
https://twitter.com/IAmCreeSummer
Want to see all of Cree Summer's role's in one click? Then click here:
http://www.behindthevoiceactors.com/Cree-Summer/
July 14, 2013
Voice Actor - Steve Blum
Among his credits include the voice of Spike Spiegel in the anime show Cowboy Bebop and Mugen in Samurai Champloo. He voiced Roger Smith from The Big O, Orochimaru and Zabuza in the Naruto anime, X-Men's Wolverine in numerous games, as well as in the animated series Wolverine and the X-Men, the animated movie Hulk Vs, The Super Hero Squad Show and Marvel Anime: X-Men. He also provided the video game voice of Jack Cayman, the main character of MadWorld, Tank Dempsey, the comic relief of Call of Duty: World at War and Call of Duty: Black Ops zombie modes, Professor Galvez in Metal Gear Solid Peace Walker, and Grayson Hunt, the main protagonist of Bulletstorm and Gorim, Oghren, and First Enchanter Irving in the 2009 video game Dragon Age: Origins.In September 2000, Blum voiced the role of TOM, the robotic host of Toonami shown on Cartoon Network (replacing Sonny Strait), as the second through 4th incarnations of the character right up to the block's cancellation on September 20, 2008 delivering the final lines uttered on the block, echoing his early role of Cowboy Bebop's Spike Spiegel, to recent revival of the block on May 26, 2012. He is also the voice of Amon in The Legend of Korra and 7-Eleven's "Oh Thank Heaven" television and radio advertisements and for his work with Vic Mignogna in a scratch-made sound bite series parodying Anheuser-Busch's "Real Men of Genius" radio ad campaign, titled "Real Fans of Genius". Revealed by Blind Ferret Entertainment on November 15, 2012, it was announced that Blum will be playing Harry, "the Homeless Bum," in Least I Could Do: The Animated Series.
He is also well known in American-based animation; as the voices of Heatblast, Ghostfreak, and Vilgax in the Ben 10 franchise, Jamie in Megas XLR, Yakky Doodle and Clamhead in Harvey Birdman, Attorney at Law, Smytus in My Life as a Teenage Robot, and his voice portrayals of Starscream in Transformers: Prime and Count Vertigo in DC Showcase: Green Arrow as well as in Young Justice, The Red Skull, Beta Ray Bill and Wolverine in The Avengers: Earth's Mightiest Heroes and as Melbourne O'Riley in What's New, Scooby Doo?.
See his massive voice acting credits list here.
July 13, 2013
Voice Actress - Grey DeLisle
DeLisle plays a leading role in at least six current animated series. Harp has called DeLisle "golden-voiced" and recognized her for her roles in The Fairly Oddparents as well as Clifford the Big Red Dog and its prequel, Clifford's Puppy Days. She is the most recent actress to voice Daphne Blake in Scooby-Doo! Mystery Incorporated. In addition to her numerous English-speaking roles, she also speaks Japanese as the character Yumi on Hi Hi Puffy AmiYumi. DeLisle has had voice acting roles in many computer and video games, such as Escape from Monkey Island, Baldur's Gate II: Shadows of Amn, Tomb Raider: Anniversary, Tomb Raider: Underworld and several Star Wars games. As a television voice actress, she portrays the Dark Jedi Asajj Ventress in 5 episodes of Star Wars: Clone Wars and reprises her role as Ventress in a bonus level in the Force Duel mode of the PSP version of the video game Star Wars: The Force Unleashed. She also portrays Frankie, Duchess, and Goo on Foster's Home for Imaginary Friends, Azula on Avatar: The Last Airbender, Riley Daring on The Replacements, several voice roles (though mainly Mandy) on The Grim Adventures of Billy & Mandy, Therese and Jeanette (Tourette) Voerman in the White Wolf RPG PC game Vampire: The Masquerade – Bloodlines, Frida Suárez in El Tigre: The Adventures of Manny Rivera, Sam Manson in Danny Phantom, as well as Vicky and her sister Tootie in The Fairly OddParents in Xiaolin Showdown as Kimiko Tohomiko and also in W.I.T.C.H as Miranda. She currently voices agent Kitty Katswell in the animated show T.U.F.F. Puppy on Nickelodeon. DeLisle also voiced Nancy Suzy Fish from the second season on SpongeBob SquarePants.
She can also be heard on each of Frederator Studios' vanity cards, as she shouts "Frederator!". She also had a role in Transformers: Revenge of the Fallen as the Arcee triplets. Also, she had a role in the critical acclaimed game Metal Gear Solid: Peace Walker as Amanda Valenciano Libre, a female character that supports Big Boss. Delisle also stars as "Tabby" in the internet animation series It's Fred!.
See her full credits list here.
July 12, 2013
July 11, 2013
July 10, 2013
July 09, 2013
Color Palettes: Norman Rockwell (1894 - 1978)
When discussing Norman Rockwell's artistic genius, his color palette is rarely, if ever, mentioned, and this is probably rightly so. The strength of his art was in his storytelling abilities, where he was able, through his own affinity with the common man, to portray love, loss, patriotism, humor, absurdity, and whimsy. It is unlikely that Rockwell himself would have considered himself a skilled colorist, and as a painter, he struggled continuously, not with his facility in applying paint, which seemed to have come unnaturally easy for the artist, but with his ability to make his paintings look the way he envisioned them. For Rockwell, it was not the final paint layer which was most important, but the preliminary charcoal drawing, and it was in his drawing that he excelled and found the perfect vehicle for his narration.
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Rockwell's initial technique was learned through courses of study begun at age 15, when he left high school and enrolled in two art schools simultaneously. His mornings were spent at the National Academy of Design, and his afternoons, spent at the Art Students' League, where he was under the tutelage of George Bridgman and Thomas Fogarty. From the age of seventeen, when he did his first paid illustrations, through age twenty-two, when he began doing covers for the Post, and for the next twenty years of his career thereafter, Rockwell worked exclusively from life. He worked at his easel drawing directly on his canvas, and painting with his models in situ, altering nothing. "It has never been natural for me to deviate from the facts of anything before me," he says, "so I have always dressed the models and posed them precisely as I have wanted them in my picture; then I have painted the thing before me. If a model has worn a red sweater, I have painted it red - I couldn't possibly have made it green. I have tried again and again to take such liberties, but with little success."†
As tastes changed, and more and more illustrators began using photographic reference to accommodate the stylistic preferences of the publishers, as well as to keep up with the demand for a quicker turnaround for finished art, Rockwell too abandoned working from life. After his idea was approved, and Rockwell had acquired the necessary actors and props, he would hire a photographer to shoot the scenes, while he, Norman, directed the models, often performing the exaggerated actions he wanted the characters to assume. From the many 8 X 10, black and white prints of the scene, Rockwell would cobble together the information he needed, and execute a full-size, detailed charcoal drawing of the finished illustration on architect's detail paper. This he would trace on a sheet of architects' tracing paper, which he would then attach to his blank canvas. Between the tracing paper and the canvas he would place transfer paper, and would next re-trace the image on the top sheet, conveying the outline to his working surface. Rockwell then painted from the photographs, which allowed him to "recompose in many ways: as to form, tone, and color."†
An example of Rockwell's finished charcoal drawings
Eventually, Rockwell altered his sketching process by employing a balopticon, an opaque projector which enabled him to cast photographic images onto his drawing surface, and lightly trace them. Said Rockwell, "When using the balopticon in this way, I do not simply copy everything which is projected from the photograph. Instead, I make many, many changes, large and small, in order to make the drawing like the image in my mind of what I want to portray. I cannot emphasize this point too much. The real danger in using the balopticon is that you will develop the lazy tendency to follow the image exactly instead of following the creative idea or image within yourself."†† "Painting from photographs can be a wholly creative performance if the artist himself is creative. To 'copy' the form, tone and color of a photographic print certainly is not creative. But one can be creative by modifying drawing, values and other aspects of the photo to realize the creative needs of the subject. The camera is no substitute for those creative faculties of mind and hand which have always produced art - and always will. The artist who can't draw or paint will never get anywhere trying to work from photographs."†††
At some point, Rockwell employed studio assistants to wash his brushes and trace the images projected from the balopticon to the architect's detail paper, and from the finished charcoal drawing to the canvas itself. This was a concession with which Rockwell was never satisfied, though it was a helpful means to speeding up his process. He found these assistants were often too literal, tracing every little line, or too lazy, ignoring too much important information during the transfer. Possibly he eventually found someone who worked to his satisfaction, but it is most likely that Rockwell continued to do most of the tracing for the remainder of his career.
Once his sketch was finished, Rockwell would send for the photographer again, who then shot the sketch, and made several matte, black and white prints enlarged to the size of the finished product (ie. the size of a Post cover). Rockwell would mount the photographs to pieces of cardboard, and would quickly paint on top of these to establish his color scheme. Usually, he only made one such color sketch, which he would then use as a guide for his finished painting.
Rockwell's method of applying paint was pretty standard, though he did make a few decisions about materials which have proven detrimental to the life of his paintings. His standard technique, once the charcoal drawing was affixed to the canvas, consisted of an imprimatura, followed by a monochromatic underpainting to establish values, then a quick color lay-in, and finally, the finished details, working the entire canvas at once. This was probably the method he learned while studying in New York City, and most likely had its origins in the European ateliers. Unfortunately, Rockwell modified this method by adding layers of varnish between the different steps, and often painted a new section before the underlying, thicker areas were adequately dry: also, Rockwell often enjoyed applying a surface of Benjamin Moore's Sani-flat housepaint to his canvas, which he ticked and incised to create an under-texture upon which to do the final painting. Even he admitted that his procedure was "technically terrible," and it was likely his paintings might some day explode, but it was the only method he could possibly use, and still meet his deadlines. Rockwell agreed with Richard Miller, who said, "Let the next generation paint its own pictures," so he was not too concerned with his art lasting beyond its use as illustration.††††
The colors he generally used were manufactured by Winsor & Newton and consisted of the following hues (his standard palette is written here in all capital letters, while those in lower case represent the colors he only used on occasion, as necessity dictated):
- ALIZARIN CRIMSON
- rose madder
- VENETIAN RED
- CADMIUM RED DEEP
- VERMILION
- BURNT SIENNA
- burnt umber
- mars violet
- RAW UMBER
- RAW SIENNA
- YELLOW OCHRE
- cadmium orange
- CADMIUM YELLOW PALE
- LEMON YELLOW
- ZINC WHITE
- VIRIDIAN
- terre verte
- FRENCH ULTRAMARINE
- IVORY BLACK
- cerulean blue
- payne's gray
- cobalt blue
His medium, when he used one, consisted of rectified turpentine and Grumbacher's Oil Medium #2.
Another source from the same time period says Rockwell used Shiva paints, with which he employed the following palette:
- ALIZARIN CRIMSON
- CADMIUM RED DEEP
- CADMIUM SCARLET
- CADMIUM RED, EXTRA PALE
- BURNT SIENNA
- RAW UMBER
- RAW SIENNA
- FERROUS YELLOW
- LEMON YELLOW
- ZINC WHITE
- VIRIDIAN
- COBALT BLUE
- ULTRAMARINE BLUE
- magnesium blue
- cadmium yellow medium
- cadmium orange
- light red
With these, he used Shiva's artist medium.
I am not sure if the omission of ivory black on the list of colors for his later palette was intentional, or an oversight. His earliest illustrations were executed in black, white, and a single color, usually red, as dictated by the printing methods of the time (or the budgets of the publishers). Perhaps as printing processes improved, Rockwell dropped black from his palette in favor of mixing his own.
I remember hearing a story about Norman Rockwell from another illustrator. Here I will attribute the anecdote to Bob Eggleton. While I might be mistaken, it could very well be Eggleton, who at the time, seemed to be on every artist discussion panel at every convention,all around the world, even when those panels and conventions were occurring simultaneously.
Eggleton related the tale that Rockwell, upon trying to be more painterly while doing one of his Post assignments, grew frustrated with how slick his painting looked. Ripping the canvas from his easel, Rockwell rushed to his garden and started throwing dirt at his wet canvas, and then broke off a shingle from his home, and began using the shingle to continue his painting. Unfortunately, Rockwell returned to his studio, dejected, as the painting still looked as slick as ever. Every illustrator in the room gave a collective "sigh" as we all wished we could paint as well as Rockwell did with a piece siding.
I doubt the story is true, but I do think it has a place more in legend, than in myth. I seem to remember reading somewhere that in his piece, A Family Tree (which includes references to Howard Pyle in the painting), that Rockwell couldn't achieve the color and texture he wanted, so he gathered dirt from his yard, and crushed it into his wet painting to get the look he desired. For Rockwell, who was a fan of modern art, this doesn't seem too odd.
Rockwell on left : Trachte on right
My favorite story involving Norman Rockwell, however, is just from a few years ago, when it was discovered that the painting Breaking Home Ties on display at the Norman Rockwell Museum was a forgery. The owner of the painting, cartoonist Don Trachte Sr., had purchased the painting from Rockwell in 1960 for $900, but had at some point, made a copy of the painting, as well as several others he owned done by fellow artist-friends in the Arlington, Vermont area. Apparently, Trachte Sr. was concerned over the ownership of the originals while he was going through a divorce in 1973. His children were given the paintings in the divorce, though they hung in their parents' households until the children asked the Norman Rockwell Museum to care for Breaking Home Ties in the museum's facility. After Don Trachte Sr.'s death, questions arose about the authenticity of the art he once owned, and during a search by his children in 2006 for clues to the whereabouts of the originals, it was discovered that Breaking Home Ties and the other missing originals were hidden behind a secret wall in Trachte's former home.
There are two great books which deal with Norman Rockwell's technique. One is the much sought-after Rockwell on Rockwell: How I make a Picture, by Norman Rockwell, and the other is Norman Rockwell: Illustrator, by Arthur L. Guptill, which has a nice section written by Rockwell himself on his working methods. Both books were relied upon heavily for this post.
† Arthur L. Guptill. Norman Rockwell: Illustrator. New York: Watson-Guptill Publications, 1975, p. 200.
†† Norman Rockwell. Rockwell on Rockwell: How I Make a Picture. New York: Watson-Guptill Publications, 1979, p. 118.
†††Guptill 199-200.