GRAPHIC LA

painted interpretations in and around los angeles by robh ruppel.
OMG OMG OMG! The book is in!!! And so pleased with how it turned out. Stop by booth #5555 in Hall H at comic con to get yours. Hardcovers are a con exclusive!! #graphicLA #digitalpleinair #book #designstudiopress #comiccon #robhruppel #robhruppelart

OMG OMG OMG! The book is in!!! And so pleased with how it turned out. Stop by booth #5555 in Hall H at comic con to get yours. Hardcovers are a con exclusive!! #graphicLA #digitalpleinair #book #designstudiopress #comiccon #robhruppel #robhruppelart

What I’m finding I like about dusk is that the values are already grouped and simplified. The light is low enough that it’s like squinting without squinting. These same relationships exists in full light we just aren’t as aware because the contrast is greater and our minds want to name everything rather than just seeing it as noisy color shapes. And speaking of color, there was a lot more here but lately I really favor making a decisive statement over slavish reproduction. It’s a little more like “art” that way, wouldn’t you say?

What I’m finding I like about dusk is that the values are already grouped and simplified. The light is low enough that it’s like squinting without squinting. These same relationships exists in full light we just aren’t as aware because the contrast is greater and our minds want to name everything rather than just seeing it as noisy color shapes. And speaking of color, there was a lot more here but lately I really favor making a decisive statement over slavish reproduction. It’s a little more like “art” that way, wouldn’t you say?

ART IDEAS #1

ART IDEAS #1

i’ve been rethinking ideas about composition since seeing Dan Coles work. he has a refreshing point of view. he searches for patterns like no other. in a way he breaks a lot of the conventional “rules” of image making but he does it SO well that it makes you see the world differently, which is always the goal of art isn’t it? so when i came across this boat (in Glendale!!!) i purposely looked for the pattern of the scene and not the deep space or dimensionality of it.

this weeks Graphic LA painting!

this weeks Graphic LA painting!

Tonal Painting, Glendale, CA

you know what i said last week about designing your color schemes? about being intentful and having an idea behind it? well, i was in such a hurry to capture the tonality of this scene (the way the bushes visually grouped, observed by squinting) that i quickly blocked in my flat colors without getting a good design to them. this really came back to bite me in the rear because those first colors and tones set up the rest of the image, you can’t really re jigger them, you can’t really bring design to where is none. so, while this has a nice tonality about it those first large color notes should have been better designed out….

and to make up for it i saved out a lot of steps while i painted.

color bars (design those choices people)
process shots, big tones first, then build up colored squares with a little organized “noise”
and the final, easy…..just takes practice…..years and years of 

santa monica sunset
stylistically i’d say this one is more gouache-like then the “film emulsion” look i have also been experimenting with.

santa monica sunset

stylistically i’d say this one is more gouache-like then the “film emulsion” look i have also been experimenting with.

Pasadena alley.
i included a close up too so you can see how abstract these are. pushed a bit of vignetting at the end for more of a “movie frame” look. all the “textures” are hand done, abstract and no photos. just a bunch of colored squares :)

a few more Tron pieces :)

NEW PAINTING!!! finally had time for a new graphic LA painting!!!  this one is overdue, haha

NEW PAINTING!!!
finally had time for a new graphic LA painting!!!
this one is overdue, haha

designs for Tron Uprising :)

just a quick one. looks pretty real so i added a close up so you can see just how crazy abstract it is. enjoy!

I was so utterly impressed recently with the Edgar Payne show that I had to try a painting on a more grand scale. It’s interesting looking at his work with mature eyes. I can remember when I first saw his work and like most newer painters, you think it’s about the thick brush work. It’s so not. Every mark in his best paintings is a design element. The strokes tell us something about the form. The shapes are carefully designed to be interesting versions of reality. The patterns are thoughtful designed and executed to be brilliant passages of calligraphy that would stand on there own if you were to peel them off the canvas. the subtle color modulation reveals a plane change. His design is deceptive because it comes off as simplistic in that it seems like anyone can make a thick brush stroke BUT that stroke carries with it the weight of strong design, solid drawing, clear separation of light and dark, modulated color and the complete understanding of the 3 dimensional space he’s indicating on a flat surface!! It was fascinating to have my memory of what I used to see in his work and compare it to what I AM able to see now. They’re are very few living painters of the landscape who have such control over drawing, design, composition and careful value and color control today. Lack of drawing today I think is robbing us of the understanding of form and composition. Drawing isn’t a trick of the wrist, it’s a method of understanding form and design.
I was so utterly impressed recently with the Edgar Payne show that I had to try a painting on a more grand scale. It’s interesting looking at his work with mature eyes. I can remember when I first saw his work and like most newer painters, you think it’s about the thick brush work. It’s so not. Every mark in his best paintings is a design element. The strokes tell us something about the form. The shapes are carefully designed to be interesting versions of reality. The patterns are thoughtful designed and executed to be brilliant passages of calligraphy that would stand on there own if you were to peel them off the canvas. the subtle color modulation reveals a plane change. His design is deceptive because it comes off as simplistic in that it seems like anyone can make a thick brush stroke BUT that stroke carries with it the weight of strong design, solid drawing, clear separation of light and dark, modulated color and the complete understanding of the 3 dimensional space he’s indicating on a flat surface!!
It was fascinating to have my memory of what I used to see in his work and compare it to what I AM able to see now. They’re are very few living painters of the landscape who have such control over drawing, design, composition and careful value and color control today. Lack of drawing today I think is robbing us of the understanding of form and composition. Drawing isn’t a trick of the wrist, it’s a method of understanding form and design.
I was trying to explain to someone recently why simplified graphic iconography is SO important to good design and this is a good example. The scene in front of me was literally this (A) But a better design is this (B) And you can’t see that unless you boil it down to the essential parts. All the “details” get in the way and must be striped off to refine the design cause without design we’re just human xerox machines. Copying what’s in front of us with no thought. Even Ansel Adams knew that you MAKE a photograph not TAKE a photograph.
I was trying to explain to someone recently why simplified graphic iconography is SO important to good design and this is a good example. The scene in front of me was literally this (A)
But a better design is this (B)
And you can’t see that unless you boil it down to the essential parts. All the “details” get in the way and must be striped off to refine the design cause without design we’re just human xerox machines. Copying what’s in front of us with no thought. Even Ansel Adams knew that you MAKE a photograph not TAKE a photograph.