Dancer Alone. Dancer On Pointe, Ballet Oil Painting, Ballerina, Framed Art - New Release

Artist's description:I wanted to create a piece on the ballet which doesn't focus on the dancers performance but on her practice and enduring hard work. Here she kneels alone in a dark room. I wanted to make it intimate, her body shape only part formed yet still beautiful.It is are framed in solid custom made framed, 55 ml wide painted grey with a cord on the back ready to hang. Oil painting, Canvas One of a kind artwork Size: 29 × 39 × 5 cm (framed) / 20 x 30 (Unframed) This artwork is sold framed Signed on the front Ready to hangMaterials used:Artist Quality Oil Paintings, MDF Board, Framed

“He met the Geisels and talked to Audrey,” Schulz says of Martino’s trip to La Jolla, Calif., where he shared his creative vision with Theodor “Dr. Seuss” Geisel’s widow. Audrey Geisel, in turn, shared her husband’s world with Martino. “She personally walked him through a lot of stuff in the house,” including closets that contained her collections of things, Schulz says. “And she told [Martino] what she expected of him” with the movie.

Given that success, Schulz says Team Peanuts felt confident it could expect the same sense of vision from Martino on its film, 3, The Trip, Blue Sky Studios dancer alone. dancer on pointe, ballet oil painting, ballerina, framed art is in Greenwich, Conn., while the Peanuts base of operations is in Northern California, As with his Dr, Seuss film, Martino’s most logical step was to visit the creative epicenter of “Peanuts.”, “I needed to become more of an expert in the details,” Martino said, Blue Sky crew members visited Santa Rosa, A group of storyboard artists headed west..

“I have been delighted that Steve Martino and his Blue Sky animation team have chosen to make Sparky’s studio here in Santa Rosa sort of a second home,” Jeannie Schulz said. “Here, they can absorb what still has the feel of Sparky’s presence, as well as visiting the museum to look at original art. “It’s been fantastic to work with Craig Schulz and [co-screenwriters] Bryan Schulz and Cornelius Uliano, and Jeannie Schulz at the museum,” Martino says. “It’s like taking [courses] at Peanuts University.” (The film is being produced by the father-son Schulzes and Uliano, as well as Michael Travers and the Emmy-winning writer-director Paul Feig [“The Office,” “Freaks and Geeks”].).

The Blue Sky crew met with Team Peanuts illustrators like Paige Braddock (“Jane’s World”), who Martino says is “a phenomenal artist in her own right.” And by studying video of Sparky in Santa Rosa, Martino says his team tried to dissect: “How does he make that line?”, “We want to track down the idiosyncrasies of the hand-drawn feeling,” dancer alone. dancer on pointe, ballet oil painting, ballerina, framed art Martino says of his team, which includes such Blue Sky veterans as cinematographer Renato Falcao and art director Nash Dunnigan, “We want to bring the magic of his pen into this [CGI] world.”..

4. The Canvas. When hand-drawn warmth gets adapted into the cool pixel-precision of CGI, the fear is often that something will get lost in the translation. Steve Martino knows he is trying to bridge this chasm between two distinct visual languages. “I’ve talked to Craig a great deal about this,” Martino tells us. “His dad understood that when he drew for comic strips, he drew for one canvas. And he was very aware that for animation, you paint on a different canvas.”.

For Martino’s crew, that first meant acknowledging that trying to replicate a hand-drawn work is not a particular strength of the CG medium, “I told my team of animators to embrace that limitation and turn it into a style, They embraced that challenge.”, Martino kept returning to the source material, “My mantra to the team was: ‘Find the pen line of Sparky — the way he shaped Charlie’s head.’ dancer alone. dancer on pointe, ballet oil painting, ballerina, framed art “, “We spent well over a year studying how [Sparky] put pencil lines down and how he created that emotion — how the dot of an eye [conveyed] joy or sorrow” so efficiently..

“Really, it’s a Picasso drawing,” Martino says of Sparky’s visual genius. In trying to create a style of movement for the characters, though, the filmmakers needed to solve a range of visual challenges. Fortunately, an animation master had already traveled along this path. 5. The Master. The Blue Sky artists hit obstacles as they tried to create each smooth-moving figure. Some of them were fresh off the animated film “Epic,” which, as Craig Schulz says, is “as close to human movement as you can get” in cartoon form.

They had studied Charles Schulz’s line, Now they needed to study the work of a man who had been in their shoes, “We step off of a legacy of how Bill Melendez created,” Martino says of the late Emmy-winning animator, “I go back to the Christmas special,” 1965’s “A Charlie Brown Christmas.”, When Melendez visually adapted the static comic strip for the screen, he had to “paint on a different canvas,” Martino says, For example, dancer alone. dancer on pointe, ballet oil painting, ballerina, framed art Martino explains, “Sparky drew Snoopy on the doghouse, the Flying Ace , , , but Bill Melendez [had to] make him fly — he put him up in the air, That’s amazing, , , ..

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