Art

Pokémon’s Original Art Can Finally Be Seen In Its Full Glory

Published

1 year ago

April 19, 2023

For over 20 years, Pokémon fans have circulated poor-quality scans of the original watercolor artwork for the 251 monsters from the first two generations by renowned series artist Ken Sugimori. These scans were often washed out, and while they had a retro feel to them, weren’t accurate to the original art. Now, thanks to the efforts of online archivists, fans finally have a much better look at Sugimori’s original pieces, and the difference is wild.

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Archivist and YouTuber Lewtwo posted a thread on Twitter about the scans, which were provided by software developer Christopher “ExcaliburZero” Wells. These pieces are from the Japan-only Pokémon Gold and Silver Pokédex strategy guide, whereas the ones that have been circulating online are from the official Pokémon Red and Blue and Gold and Silver guides that were sold in the west in the late ‘90s.

Unlike the original pieces and the images in the Japanese guide, the Western scans came out discolored, distorted, and missing details in those books. Despite their quality, they were shipped out and became well-known within the Pokémon community. Looking at the examples Lewtwo has already posted, such as Diglett and Tauros, it’s clear how a lot of the deep colors were lost in those original scans featured in Western materials.

Why are new scans of Ken Sugimori’s art significant?

Speaking to Kotaku, Lewtwo says it’s taken so long for the original pieces to surface because the prevalence of the original scans had distorted fans’ frame of reference for what these pieces are “supposed” to look like. This changed when the original Gen I and II games were ported to Virtual Console, which included HQ digital uploads of artwork of some of the older Pokémon. Lewtwo points to ones, like Eevee and its evolutions as some of the most accurate scans.

“You can literally see all of Sugimori’s imperfections with the tools he used, right down to the way the watercolor bleeds in and around the lineart, to the point we’re convinced that this is the closest we will ever get in being able to scan the original piece,” Lewtwo says.

When Pokémon Blue came out, developer Game Freak made new artwork for each monster, but Lewtwo says the art most western fans know for that game was “incredibly high contrast” compared to the original Red and Green games, which is why characters like Ditto look nearly colorless, despite the Pokémon itself being a deep shade of pink. The distortion extends to the line work and general shape of some Pokémon, which Lewtwo says was “effectively destroying any subtlety intended” in the watercolor pieces. But it was all the community had to work with for a long time.

“The scans of this artwork were remarkably poor, and every source we found appeared to have largely stretched or misshapen art, which stemmed from the sources themselves, and not even from poor scan quality,” Lewtwo says.

Despite it taking this long, Lewtwo says the Pokémon Gold and Silver Pokédex book isn’t particularly rare or even expensive. He was even considering buying it himself for $20 online from a Japanese seller, which he says would be “a steal” at that price for access to the original art.

How did the low-quality Pokémon scans circulate for so long?

What’s curious about the entire situation is how the poor-quality scans became so embedded in the Pokémon community. Lewtwo says it’s likely because they were featured in several pieces of official Pokémon media and merchandise in the West, all starting with its guide books.

“Aside from having artwork that was literally malformed by stretching it (on top of the color changes), there was clearly little care put into preserving the original look, so much so to the point where the Super Game Boy screenshots in the guide also use inaccurate colors, like they were flat changes across the board,” Lewtwo says.

Now, Lewtwo is scanning all 251 Pokémon as they were originally meant to be seen and uploading them to their own Asset Archive, as well as working with sites like Pokémon wiki Bulbapedia to restore the original pieces. He estimates this will be a months-long process. However, some fans have taken issue with this, claiming the original scans will become “lost media” if sources like Bulbapedia switch to these new scans.

Lewtwo responded to this in a lengthy tweet, pointing out that resources like Bulbapedia already allow you to look at previous iterations of assets it has on file, so they wouldn’t just be erased from history. Some were also quick to dispute that these were more accurate scans, but Lewtwo says he cross-referenced these scans with official art like Game Freak’s own assets and artwork seen in the trading card game to ensure their quality.

“We understand the backlash—that people have an affinity for the way the artwork has always looked to them, but our priority has always been preserving how this art is supposed to look as much as possible,” Lewtwo says. “I never grew up with these guides so I can’t really relate, but the inaccurate versions will always exist on Bulbapedia’s file history for those that want them there. That being said, whilst we understand why this feels weird and why there are definitely interpretations up for debate, it’s incredibly disheartening to read whole ‘go f*** yourself’ tweet threads with some seriously rude and heated replies. We’ve dedicated months to preservation already without expecting anything in return, but some of the responses have gone way too far, and are usually really misinformed. We’re all trying to do the best we can, and we appreciate all of the nice, patient comments so far. It means the world to us to see people excitedly asking what their favorite classic Pokémon was supposed to look like with this level of care and attention.”

Despite the pushback, Lewtwo says much of the community has been supportive, and it’s given him the drive to ensure the best-quality versions of these pieces is preserved for use by the Pokémon community.

“This may take a few months—especially if I’m the only one working on it—but we’ve already had some enthusiasm on this particular project crop up in our Discord, which is where we come together to unearth a lot of cool stuff and help each other preserve content as best as possible.”

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

2 days ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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