My wife passed along an interesting article about the use of “optical aides” by Renaissance painters and various artists through history in their works. I’ve heard, and read, arguments that Vermeer used a “camera obscura” to trace out his images, and that the pinpoints of white he used as highlights, are actually visual proof of it because that’s not how naturally reflected light appears to the eye.

The article she passed on from the New Scientist website discusses how painters who used similar methods to trace out their images, but they left behind clues of their method in the mistakes made when shifting the equipment to bring various points of the subject into focus. It’s interesting that the article also provides a diagram of the mistakes in perspective to justify the claims. A nice visual aide for those who may not be familiar with the theories involved.

I’ve recently been considering doing a few posts on tricks of the studio, one of which is what Brian Stelfreeze taught me about doing perspective to make it easier. It’s something all artists fight with, from basic levels to insane works like those by M.C. Escher. ¬†Until then, take a look at this article from New Scientist, very interesting.

Lastly, I’d like to pass on my condolences to the family of Dick Giordano, who I mentioned recently in my posts as someone who gave me an informative review of my work. Dick was a legend in comics, having worked as an artist, writer, and editor for decades. He was influential in the careers of countless professionals, and was always willing to give advice and support. I only met him briefly a few times, but he was always kind, but his words had the weight of gold about them. He will be missed by the comic industry as a whole.

Here’s an article on Newsarama about his passing for those who are interested.