That's why most animals aren't colored red, except for monkeys, which are unusual among mammals for having the same sort of color vision that humans have. Red faced Uakari Monkey from Flickr wbirt1Ī good clue is that if animals have bright colors on them, then others of their kind can see those colors. The mantis shrimp has 16 kinds of light receptors in its eyes, which apparently allow it to see images in polarized light and ultraviolet light that we can't see without special instruments. These unique abilities probably help bees and butterflies to see fruit or flowers. When it comes to color, some insects can see into the ultraviolet range, a kind of light that’s invisible to us. But some birds, like hawks, may have sharper distance vision based on how their eyes are structured, and some other birds, like owls, surely see much better in the dark than we do. Most birds seem to have as many color receptors as we do. Humans, apes, and monkeys have the addition of green / red color receptors, so we see those colors, too. So their view of the world may only distinguish light and dark, and maybe blue and yellow colors. He produced over 60 black and white illustrations, using a brush and ink style where he grouped the cast shadows with the shadow side of the form to create mysterious shapes.ĭogs, cats, deer, and other mammals do not have color receptors in their eyes that can sense the difference between green and red. When Von Schmidt (1893-1982) undertook to illustrate the lavish 1929 edition of Cather's book, he took six months off his magazine illustration career and traveled to the American southwest to see the frontier settings of Cather's book. He showed Caniff "a set of illustrations by Harold Von Schmidt for Willa Cather's Death Comes for the Archbishop -employing lush black brushwork, defining objects by shadows as much as outlines-Sickles introduced ultra-realism and impressionistic linework to the comics." The quote is from America's Great Comic-Strip Artists, by Richard Marschall. Sickles was always interested in dramatic, realistic storytelling. Milt Caniff's studio mate was Noel Sickles (1910-1982), who had drawn an adventure strip called Scorchy Smith. SKETCH MAGAZINE 02 (Todd McFarlane) 6.95 SKETCH MAGAZINE 03 (Marc Silvestri) 6.95 SKETCH MAGAZINE 04 (Michael Turner) 6.95 SKETCH MAGAZINE 05 (Bill Tucci) 6.95 SKETCH MAGAZINE 06 (Brian M.Bendis) 6. He took some of his inspiration from work he saw in book illustrations. I see his work and I want to pick up a pen and start inking.
An individual artist I especially like is Erik Tiemens of Virtual Gouache Land. Urban Sketchers is a good site to follow, many contributors. There are so many talented inkers out there. Caniff used dramatic blacks, applied with a brush, providing an opportunity to sink some forms into silhouette, or present mysterious lighting effects. I love looking at well-done pen-and-ink drawings with masterful washes. One of the pioneers of adventure comics was Milton Caniff (1907-1988). When realistic adventure comic strips appeared in the newspapers, it was a big change from the line-dominated cartoon style that had prevailed until then.
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