tag:blogger.com,1999:blog-12189014.post9120992749465179763..comments2024-03-28T22:57:07.128-04:00Comments on ILLUSTRATION ART: ECSTASY UPDATEDDavid Apatoffhttp://www.blogger.com/profile/11293486149879229016noreply@blogger.comBlogger86125tag:blogger.com,1999:blog-12189014.post-37859924604775933722013-05-15T11:21:53.015-04:002013-05-15T11:21:53.015-04:00Sean Farrell and Kev Ferrara-- I agree that storyb...Sean Farrell and Kev Ferrara-- I agree that storyboarding and illustration are different disciplines, just as pen and ink drawing is a different discipline from oil painting. The story about Tepper doesn't surprise me at all, as I've heard about the friction between the traditional Tepper and his lightning fast apprentice Al Dorne, who had no patience for oil paint to dry and no use for Tepper's ponderous techniques. <br /><br />But there are some core competencies between storyboarding and illustration that overlap, and some noteworthy exceptions. In particular, I would point you to the very excellent Tom Fluharty, who splits his time between storyboarding and painting marvelous oil paintings using the techniques of the Flemish masters.<br /><br /> David Apatoffhttps://www.blogger.com/profile/11293486149879229016noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-42798571809921336562013-05-15T10:13:49.674-04:002013-05-15T10:13:49.674-04:00Vicki wrote: "in old European towns, the larg...Vicki wrote: "in old European towns, the largest and most prominent structure would be the church, and towns vied with one another to build the grandest one. Now, in most any town, the most imposing structure--surrounded as it is with acres of parking--is likely to be the shopping mall."<br /><br />An interesting point, and thanks for bringing the fresh perspective of the "devout ladies" to this discussion. I enjoyed your contribution.<br /><br />Tom-- It was oil paint, largely washes.<br /><br />Etc, etc wrote: "Has my opinion been enlightened or merely tainted?"<br /><br />That's the $64,000 question, isn't it? We are schooled to believe that more information and additional perspectives are always a good thing. I suspect that remains true in the sciences, and it is a good starting point in the arts, but as a bunch of folks discussed recently on this blog (http://illustrationart.blogspot.com/2012/12/against-scholarship-in-arts.html) we probably need to exercise a little more control over what is worthwhile input in the arts, because it is possible to be tainted by information which is hard to unlearn. (Obviously I don't view the potentially sexual aspects of Teresa's ecstasy to fall into this category, but I can understand how others might). <br /><br /> David Apatoffhttps://www.blogger.com/profile/11293486149879229016noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-35496150100843538192013-05-15T10:11:24.697-04:002013-05-15T10:11:24.697-04:00Hi Kev,
The points are simple. Each ar...Hi Kev,<br /> The points are simple. Each area is its own discipline. A ballplayer isn't compared with a doctor.<br />But a doctor still enjoys watching baseball and a ballplayer needs a doctor. A storyboard artist isn't compared with a great illustrator. Each discipline has its own dynamics and parameters and people who think they can dance from one to the next are often surprised to find out differently.<br /><br />Every time there is a slowdown in illustration some of these artists try their hand at storyboards and often find it doesn't work out. That's because the dynamics are different and it at least takes some adjustment time. Each area is different. That's what I'm saying. Each category is its own and they don't all compare well. <br /><br />The story was conveyed to me by an older guy about <br />25 years ago. It probably took place in the late fifties or early sixties.<br /><br />There were artists who worked religiously in halftones as taught at Brooklyn College during the late seventies and early eighties. They showed at major NY galleries, but when people are following provided formulas, it shows. It always shows. It's not like the recent revival of the academic tradition hasn't tried to produce lots of terrific artists, but if they break through, it's because they brought something to it that gave it a kick, a sense of movement, life or some quality that isn't supplied by the formula itself.<br /><br />Duffs or not, there were endless good academic drawings done in the late 19th and early 20th century by well to do kids. It was like learning to play piano and during that era, young people learned to draw.<br /><br />It's something like listening to a thousand unknown flash guitarists on You Tube. They have fantastic chops but the more I listen to them, the better Duane Allman sounds.<br /><br /><br /><br /> Sean Farrellnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-64060058333366983152013-05-14T19:01:46.185-04:002013-05-14T19:01:46.185-04:00Sean,
Just realized that the palette jpeg went wi...Sean,<br /><br />Just realized that the palette jpeg went with a text file of notes from a lecture given by <a href="http://arthurmaynard.blogspot.com/" rel="nofollow">Arthur F. Maynard</a> another student of Frank Vincent DuMond. As per the discussion the following lines should be of interest:<br /><br />LANGUAGE - Call the different values by the name of the pure colors.<br /><br />1. Cadmium yellow light is exceptional top plane.<br />2. Cadmium yellow medium is usual top plane.<br />3. Cadmium yellow deep is middle position of sunlight.<br />4. Cadmium yellow deep deep is upright sunlight plane.<br />5. The Orange value is the middle of the palette or half tone.<br />6. Cadmium red light is flat plane of shadow.<br />7. Cadmium red medium is usual upright plane on a clear day.<br />8. Cadmium red deep is an under plane.<br />9. Cadmium red deep deep is an accent.<br /><br />Cadmium Yellow Light to Yellow Medium to Yellow Deep, to Yellow Deep Deep, to Orange - that delicate place that is the half tone - halfway between light and shadow - and continues to Red Light (now in shadow) to Red Medium, to Red Deep, to Red Deep Deep, all the way to darkness.<br /><br />~ Sounds like …Cezanne‽ …Hawthorne‽ …Hensche‽अर्जुनhttps://www.blogger.com/profile/14724439749828805512noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-2290353244468693542013-05-14T09:39:41.550-04:002013-05-14T09:39:41.550-04:00अर्जुन , thank you for taking the time explain Roc... अर्जुन , thank you for taking the time explain Rockwell's<br />teachers, their influences and the explanation of Dumont's thinking on half tones and also the influence of Chavannes.Sean Farrellnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-46241579038684345482013-05-14T08:52:45.863-04:002013-05-14T08:52:45.863-04:00Sean,
Assuming that anecdote is true, Saul Teppe...Sean, <br /><br />Assuming that anecdote is true, Saul Tepper may have been in his 80s when that anecdote takes place. And he, reportedly, was not in the best of shape mentally after his 60s. Had the anecdote taken place in his 30s, with Tepper in peak form, I doubt it would bolster your case. <br /><br />Not even sure what your case is. Is your case that because Saul Tepper, being a great Golden Age Illustrator, as an old man with diminished powers, couldn't do storyboard work as reported in a single anecdote, that storyboard work is proved to be a sufficiently difficult endeavor that even a golden age illustrator, with his particular specialities.... wait... what exactly is your argument? Why are you defending storyboard work anyway? Who was putting it down?<br /><br />And in what sense are you using the term equivocate? Do you mean equate?I'm very confused.<br /><br /><b>So yes, it is nothing more than my observation to connect the Rockwell with the Cezanne, but it isn't outside his milieu because Rockwell's favorite artist was Rembrandt and so he was to some extent a student of Fine Artists</b><br /><br />Only problem is that Cezanne wasn't considered a fine artist in Rockwell's artistic milieu, he was considered a duffer. Cezanne wouldn't have been mentioned in the same breath as Rembrandt.<br /><br /><b>Rockwell learned at least one of the devices I had in mind from Charles Hawthorne and that was the point Kev and Chris were both making</b><br /><br />An appreciation of epistemology will help prevent you from writing sentences like the above. <br /><br /><b>I ... discovered what seems to be a group of academics trying to reinvent the wheel. One page spoke of a single drawing of a plaster cast of a face receiving 40 hours of work. As a friend and excellent draughtsman put it, it is a reaction of the mediocre to the shock art of the last decades.</b><br /><br />Those 40 hour cast drawings are used to sensitize the student to minute changes in value and subtleties of drawing, among other things. The greatest artists we know assuredly have a number of such studies in their background. Assuming such studies are of no use is, again, evidence of your artistic myopia and epistemological arrogance.<br /><br />Not to belabor the obvious, Sean, but your errors-per-sentence ratio is alarmingly high.<br /><br /><b>What I was initially referring to regarding the 19th century was that it was a time when all good young boys and girls of money learned to draw</b><br /><br />As Rob Howard used to point out on this blog, the good young boys of money tended to be the radicals/duffers. It was the poverty stricken talents, rather, who worked their tails off to become expert draughtsmen, so they could make beautiful things and make something of themselves in the world. <br /><br /><b>As a friend and excellent draughtsman put it, it is a reaction of the mediocre to the shock art of the last decades.</b><br /><br />Are you saying that your work is better than these artists? That you are more talented?That none of these mediocrities may develop into artists of merit in your eyes?kev ferrarahttps://www.blogger.com/profile/09509572970616136990noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-87875588619522629362013-05-13T15:28:06.849-04:002013-05-13T15:28:06.849-04:00""it seems Rockwell learned at least one...""it seems Rockwell learned at least one of the devices I had in mind from Charles Hawthorne""<br /><br />Coincidently both Hawthorne and Rockwell had studied at the Art Students League as students of Frank Vincent Dumond.<br /><br />Dumond (1866-1951) had been teaching at the League on 57th Street for nearly four decades when Riley signed up for a figure painting class. Paris-trained at the Académie Julian with academics Gustave Boulanger (1824-1888) and Benjamin-Constant (1824-1902)**, DuMond was best known for meditative religious subjects, figural murals combining myth and history, and plein air landscapes done throughout New England. Not content with superficial appearances, DuMond stressed understanding the artistic significance of the landscape or human form and insisted that his students eliminate details. He often spoke of the figure as a unit engaged in an all-inclusive gesture which flowed from the tips of the fingers into the arms, shoulders, back of the neck and down the arm. He also emphasized the unity of color achieved through an analytical process of "half-tone".<br /> "The blinding light of the sun and the dark of the deepest cave are out of reach of your palette," DuMond wrote. "The only place we can directly relate to nature is through half-tone, which mysteriously weaves in and out of everything, tying it all together. When one looks backward there seems to be some sort of half-tone that covers the whole affair and makes it acceptable."<br /> DuMond's half-tone rested at the center of a series of greys that represent five planes of light: highlight, light, half-tone, shadow and accent. "DuMond's system was very deliberate and mathematically precise," recalls Riley. "You'd have five shades of grey, from white on one end to black at the other. This was set in line with your colors--the highest keyed, like yellow, at one end, down through the ochres to the blues and purples at the deep end of the scale."<br /> Exercises in putting this palette of values to work consisted of model set up in dramatic lighting conditions. The goal, DuMond stressed, was to see the action of light as revealing form and to aim for the elusive essence. Riley recalls one modeling situation in which a black man wearing an Oriental costume was illuminated by candlelight. "The candle would be the supreme highlight of the painting with everything else receding into darkness, except that there might be sequins on the costume picking up light. The challenge was to handle the extremes of a small range in the upper scale, but a broad range in the muted low-key colors. It took real discipline."<br /> Dumond's idol, according to Riley, was Frenchman (Pierre) Puvis de Chavannes (1824-1898)***, a follower of Ingres. Puvis, who is categorized with the Symbolist painters, was a reductivist. He arranged his nostalgic, idealized figures to create a mood of order, serenity and formal harmony characterized by decorative two-dimensionality, clear silhouettes, compressed space and subdued colors. The simplification of formal elements fundamental to Puvis' style appealed to DuMond's sense of logic. Many years later, in paintings such as Shadow [102], it would appear to have appealed to Ken Riley's logic as well. ~ West of Camelot : The Historical Paintings of Kenneth Riley , pp. 48,50<br /><br />An <a href="https://picasaweb.google.com/104843871720362761374/EcoleDays#5877540119204251282" rel="nofollow">example of the Dumond Landscape Palette</a> found on the web. The indoor figure/portrait palette would have strings of flesh colours instead of the blues & greens.<br /><br />**One of F.X. & J.C. Leyendecker's masters<br />***Who, like Manet, was a student of Thomas Coutureअर्जुनhttps://www.blogger.com/profile/14724439749828805512noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-76951691490416631502013-05-13T14:22:54.110-04:002013-05-13T14:22:54.110-04:00David, I do have several images by Fuchs and one b...David, I do have several images by Fuchs and one by Heindel from a 1985 sports calendar from a university which I imagine aren't all too well known. I finally scanned them when I discovered they got damaged in a drawer and didn't want them to get further damaged. If you would like to see them you can contact me and I'll send them to you. One of them is a personal favorite by Fuchs.<br /><br />I appreciated the many good points made on the string by all. I pulled down the Gannam watercolors to look more closely at the rhythmic lines of continuity and they were indeed beautifully done. I will look it over more closely when I get time. <br /><br />Someone, now gone told a story where he witnessed the great illustrator, Saul Tepper who went into an advertising agency at the end of his career and spent a day trying his best to do storyboards. At the end of the day he stood up and said, I can't do it. Special areas of art are their own world requiring their own sets of skills and it is often tempting to equivocate them, but being of different worlds they have different criteria. It's a difficult subject. I would be the first to agree that comparing storyboard work to such great illustrators is a very bad idea. Though there was one who did teach at The Famous Artists School who was still working in the late 80s.<br /><br />So yes, it is nothing more than my observation to connect the Rockwell with the Cezanne, but it isn't outside his milieu because Rockwell's favorite artist was Rembrandt and so he was to some extent a student of Fine Artists. On the other hand, it seems Rockwell learned at least one of the devices I had in mind from Charles Hawthorne and that was the point Kev and Chris were both making and I would never have known such specifically but for Kev and I appreciate that and no I didn't read it, but observed it.<br /><br />In the process of reflecting upon the many comments I was looking around and discovered what seems to be a group of academics trying to reinvent the wheel. One page spoke of a single drawing of a plaster cast of a face receiving 40 hours of work. As a friend and excellent draughtsman put it, it is a reaction of the mediocre to the shock art of the last decades.<br /><br />What I was initially referring to regarding the 19th century was that it was a time when all good young boys and girls of money learned to draw as one did learn to play the piano and as a result, there was a mountain of academic drawings and paintings which added up to little, given that even the best of them all looked the same. I'm certain today's many academies are hoping for much more and I wish them all the best.<br /><br />Thanks to all<br /><br /><br /><br />Sean Farrellnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-47527803969388741242013-05-11T15:07:57.106-04:002013-05-11T15:07:57.106-04:00Right, "plasticity" tends to be used in ...Right, "plasticity" tends to be used in reference to form, thus my confusion. If your argument is that all great works of art have mystery, then I agree.<br /><br />I put less value on interpretation of content because it leads to art being merely a springboard for conversation, rather than an unique object worthy of aesthetic contemplation and personal reflection on its own merits. <br /><br />kev ferrarahttps://www.blogger.com/profile/09509572970616136990noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-1345428840415882892013-05-11T12:38:43.892-04:002013-05-11T12:38:43.892-04:00Kev,
By "hermeneutical plasticity" I me...Kev,<br /><br />By "hermeneutical plasticity" I meant plasticity in the sense of potentiality, that is, being malleable in its interpretation. In other words, some people see The Ecstasy of St. Teresa as spiritual ecstasy, and some see it as sexual ecstasy. It probably wasn't a great idea to use "plasticity" in a non-sculptural sense in this case.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-51118000854656055112013-05-11T10:25:36.902-04:002013-05-11T10:25:36.902-04:00etc, etc,
Plasticity is the essence of a communic...etc, etc,<br /><br />Plasticity is the essence of a communication, and essence is not up for interpretation. It is only with the subtantiations of essences that symbolic estrangements occur between surface and depth which require hermeneutics. For instance, if the bernini sculpture was purely plastic, an abstract work from top to bottom, this question of whether the ecstasy of Teresa was sexual or theological would not arise. Because there would be no Teresa. Yet the sculpture' plasticity may still convey ecstasy.kev ferrarahttps://www.blogger.com/profile/09509572970616136990noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-81419391473491643192013-05-11T09:27:01.515-04:002013-05-11T09:27:01.515-04:00I'd seen Bernini's sculpture many times wi...I'd seen Bernini's sculpture many times without considering that it represented sexual ecstasy; it was only after I read the suggestion a couple of years ago that I actually began seeing and thinking of it in those terms. Has my opinion been enlightened or merely tainted? That is the fascinating question for me, along with its hermeneutical plasticity that is a hallmark of great art.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-8709073647248285572013-05-08T13:34:28.886-04:002013-05-08T13:34:28.886-04:00Hey David
You posted a B Fuchs picture of a golf s...Hey David<br />You posted a B Fuchs picture of a golf scene a little while back. Do you know what medium he used to make the painting? ThanksTomhttps://www.blogger.com/profile/04641223414745777056noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-19754799251838652342013-05-08T05:08:39.571-04:002013-05-08T05:08:39.571-04:00That,from the man that seeks to shut down debate.
...That,from the man that seeks to shut down debate.<br />Your lack of self-knowledge is worrying.<br />As is your ability to detect the differences of a writer's tone, hardly suggests a perceptive critical faculty does it?<br />Now just keep quiet.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-5110402939789609352013-05-07T20:08:30.278-04:002013-05-07T20:08:30.278-04:00Cezanne …Rubens devotee‽
Square, Circle, Triangle...Cezanne …Rubens devotee‽<br /><br /><a href="http://www.sothebys.com/content/dam/stb/lots/N08/N08824/327N08824_68KJP.jpg?15" rel="nofollow">Square, Circle, Triangle</a><br /><br /><a href="http://www.sothebys.com/content/dam/stb/lots/N08/N08824/113N08824_68KJP.jpg?788" rel="nofollow">Push-Pull</a><br /><br />see Lot 24 <a href="http://www.sothebys.com/en/auctions/ecatalogue/2012/old-master-drawings-n08824/lot.24.html" rel="nofollow">FOLLOWER OF SIR PETER PAUL RUBENS SECOND HALF OF THE 17TH CENTURY</a>अर्जुनhttps://www.blogger.com/profile/14724439749828805512noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-10309129756452462512013-05-07T13:06:55.692-04:002013-05-07T13:06:55.692-04:00Chris, your last post was all bolded. The previous...<b>Chris, your last post was all bolded. The previous one was not.</b><br /><br />Thanks Kev.chris bennetthttps://www.blogger.com/profile/02088693067960235141noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-37047894118825413862013-05-07T07:03:22.574-04:002013-05-07T07:03:22.574-04:00Anon, I really don't see any conversational be...Anon, I really don't see any conversational benefit to obeying your wishes or trying to please you. Your view of things, (art, conversation, bullying, this thread, Andy Warhol, art history, etc.) seems blinkered to me. Accept what you cannot change and move on.<br /><br />Chris, your last post was all bolded. The previous one was not. kev ferrarahttps://www.blogger.com/profile/09509572970616136990noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-91700501934466521572013-05-07T05:29:42.391-04:002013-05-07T05:29:42.391-04:00Just testing this 'bold' HTML tag thing th...<b> Just testing this 'bold' HTML tag thing that Kev's got going on... If it doesn't work, could someone fill me in on it so that I don't spam this excellent discussion with further test combos...</b>chris bennetthttps://www.blogger.com/profile/02088693067960235141noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-608420229702258742013-05-07T05:17:18.259-04:002013-05-07T05:17:18.259-04:00David Aparoff wrote:- Manet certainly seems to be ...David Aparoff wrote:- Manet certainly seems to be enjoying a renaissance, after many years when Cezanne scooped up all the credit for being the prime mover of modern art. Time for a separate post on Manet / Cezanne to do this issue justice.<br /><br /><br />I'm looking forward to that David - I'll certainly weigh in heavily on that one!chris bennetthttps://www.blogger.com/profile/02088693067960235141noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-15691660473833836752013-05-07T03:03:25.786-04:002013-05-07T03:03:25.786-04:00It's a shame you couldn't have given Sean ...It's a shame you couldn't have given Sean that respect at the outset.<br />Instead of getting into a paranoid witchunt about who he was, questioning his motives and not respecting his well-argued viepoint.<br />And one final thing, people exchange ideas here, the notion that there are 'half-truths' or 'false' statements sounds like the Spanish Inguisition and you are the self-appointed chief interrogator.<br />I hate bullies and value people's rights to speak up without being maligned by others.<br />Respect that and you and I have no problem.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-76670711179601178122013-05-06T23:31:29.054-04:002013-05-06T23:31:29.054-04:00Very good Kev and thanks,
SeanVery good Kev and thanks,<br /> SeanSean Farrellnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-18655416555859869012013-05-06T21:38:37.383-04:002013-05-06T21:38:37.383-04:00Sean,
Thank you for doing me the honor of filling...Sean,<br /><br />Thank you for doing me the honor of filling in details about your work life. I think it does indeed give me a better sense of who you are and where you are coming from. And I respect that you are professional in the field, of course.<br /><br />Sorry if you feel it was pushy to ask more of you in this regard. But there is something almost dishonorable about having conversations where the participants lack any skin in the game. The skin being one's name, the convictions in one's work, and some connection to a life behind the name.<br /><br />As I am still a work in progress myself, I can't help but raise a glass to the sensible sentiments you express about love and how fallible we all are. <br /><br />Best wishes,<br />kevkev ferrarahttps://www.blogger.com/profile/09509572970616136990noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-18055404645081471172013-05-06T21:12:28.740-04:002013-05-06T21:12:28.740-04:00David, I haven't had a chance before to see yo...David, I haven't had a chance before to see your writing and clear thinking in quite this way because on your posts, you let the work do most of the talking. So it was insightful to come here and comment and hear your voice.<br /><br />Degas left hints for his viewers, especially in his sketches. Of course I can't prove it, but often wondered if Rockwell in his references wasn't also talking to his fellow artists as did Degas.<br /><br />Kev, it's true I'm not angry with you, but my holier than thou as you called it is the result of having awakened one day to find myself all alone and then figuring out why. Today I care more for my family and my behavior that ambitions, but I can assure you, I struggle with many all too human qualities that proved detrimental to my happiness.<br /><br />I don't owe you an identity check, but I studied at SVA with fine art and illustration teachers, many of whom are now gone. Also hands on daily mentorship with a minimalist sculptor in the late 70s, also gone and met some important people in the fine art world of that time through him, also gone. Later I began working as a storyboard artist and admire many in that field and some of them are now gone. Life is short Kev and Anonymous means no harm to you.<br /><br />As I was checking the Theresa of Avila quote to see if I remembered it right, I came across another and here it is and why I have a soft spot for her mastery. "It is love alone that gives worth to all things". To put it mildly, she was not a long weekend. My commercial storyboard drawings can be seen at Aboveboards.com and no, I am not the same person posting as Anonymous.<br />Sean Farrellnoreply@blogger.comtag:blogger.com,1999:blog-12189014.post-47121484199964910552013-05-06T21:00:26.872-04:002013-05-06T21:00:26.872-04:00Anon, you need to learn to chill out. Jeez. You we...Anon, you need to learn to chill out. Jeez. You were a nutter on the last thread, and now you're just dropping in here to stir up trouble? <br /><br />Clearly you can't tolerate when someone disagrees with you. But that's really too bad. That's the internet. You don't get your way. And there is no final say. <br /><br />Best wishes,<br />kevkev ferrarahttps://www.blogger.com/profile/09509572970616136990noreply@blogger.comtag:blogger.com,1999:blog-12189014.post-34875826739154554632013-05-06T18:06:11.176-04:002013-05-06T18:06:11.176-04:00Yes Kev I am the same anon.
And you are a wee bit...Yes Kev I am the same anon.<br /><br />And you are a wee bit obsessed with this 'reveal your true identity' business as if it will somehow make a difference to the point we're debating.You could say "Show me a picture of your face, so I can visualize you saying the words you are currently typing".<br />So I have no interest in anything other than putting my point of view.<br />But the truth is as a critic you are pathetic because you couldn't even spot the different tone of voice in Sean Farrell's writng and mine!!!!<br />The whole tone and structure of his writing is so massively different and then you said this:<br /><br />"A non sequitor, possibly: If I'm not mistaken, one's computer's IP address will be visible to the webmaster of this blog site, no matter which name one posts under."<br /><br />Well,I invite David right now to check Sean and mine's IP address, and let's see.<br /><br />So your paranoia and deeply unpleasant inability to put your own prejudices to one side like a proper grown-up person- without resorting to slights and snide remarks- will stand revealed.<br />A very small man with a too loud voice. Not angry? You're so full of anger its leaking out of your fingertips.<br /><br />David, over to you...Anonymousnoreply@blogger.com