Posts Tagged ‘Illustrators’

Bill Presing’s work has been recognized by a number of a award committees and institutions. The “LUGZ” commercial spot he illustrated was nominated for an ANNIE award, and his work on the animated opening for “The Rosie O’Donnell Show “won him a prestigious Daytime Emmy award. Bill is the co-creator of “Rex Steele : Nazi Smasher”, a comic book for which he received a nomination for the 2000 IGNATZ award for outstanding artist. Bill Presing is currently a storyboard artist at Pixar Animation Studio.

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Louis J. Marchetti (Lou Marchetti) (1920–1992) was a free-lance illustrator and fine artists. He was born in Fondi, Italy and immigrated to the United States at an early age. He attended Bryant High School on Long Island, New York and later studied for five years at the Art Students League of New York with two scholarships.

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As an editorial illustrator, he created numerous book covers and illustrations, primarily for Dell Books, Pocket Books, Lancer Books, Paperback Library, and Popular Library. His creative work extended into posters for the motion picture industry, promotional illustrations for television (I Spy NBC), magazine illustration True (magazine), Galaxy, and Reader’s Digest, as well as a series of religious collector’s plates offered by the Danbury Mint. His fine art appeared in several galleries across the United States, including the Grand Central Art Galleries (New York). Marchetti’s fine art often reflected the Lazio provincial Italian countryside near his place of birth. He was a member of the Society of Illustrators (New York).

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Text from Wikipedia, the free encyclopedia

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Ludlow was a glamour illustrator who did much pin-up work in the late 1950s for Esquire. He painted the entire twelve-page calendar for 1957 – the last published by the magazine. His pin-ups also appeared in the series of three-page centerfolds known as Esquire’s Lady Fair. For these works, Ludlow often called on actresses like Virginia Mayo and popular personalities like Betsy Von Furstenberg in addition to professional models.


Besides painting his Esquire pin-ups, Ludlow had another entire career as an illustrator of romance articles, providing pictures of beautiful women to mainstream magazines such as The Saturday Evening Post, Good Housekeeping, Collier’s, and Family Circle. From 1950 to 1960, he also painted many front covers for paperback novels, including among his clients Pocket Books, Dell Books, and Bantam Books. All his paperback covers had a strong air of sensuality and featured sexy pin-up girls as the main figures.


Ludlow was born in 1921 and grew up in Buffalo, New York. He attended the Art Students League, where he studied with William McNulty. His first commercial art assignment, for the Sunday supplement of the Journal American, came in 1948. From the beginning, Ludlow has specialized in glamorous subjects and made beautiful women his trademark.


Text from mutoworld

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122_divito_002José Antonio Guillermo Divito, also known simply as Divito (Buenos Aires, July 16, 1914 – Lajes, Brazil, July 5, 1969) was an illustrator, cartoonist, caricaturist and editor who, through his comic illustrations and humor had great influence in the decades from 1940 to 1960. He was the founder and director of the famous magazine Rico Tipo.

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Charles Pears, born 1873 in Pontefract, Yorkshire, died 1958. Designed posters for the Underground Group and London Transport 1913-1936

Charles Pears was a prolific poster artist for the Underground, producing highly effective posters in a range of styles. He also created posters for the Empire Marketing Board and the Metropolitan Railway. Elected the first President of the Society of Naval Artists, he was a keen marine painter. During the First World War he was an Official War Artist to the Admiralty as well as holding a commission for the Royal Marines. He again worked as an Official War Artist during the Second World War. Pears also illustrated books as well as Punch, the Graphic and other periodicals.

ÔThe Cambrian CoastÕ, GWR poster, 1938. Barcode: 10173439
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Text from “London Transport Museum

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Al Moore was a busy illustrator from the 1940s to the late 50s, generating advertising, fashion, story art, and pin-ups. Covers for Saturday Evening Post and Collier’s and interior work for these and Woman’s Home Companion, American Magazine, Woman’s Day, McCall’s, Cosmopolitan. Ads for Hertz, Whitman’s Chocolates, Ford, Camay, Nash, US Rubber, Coke, Old Gold, Botany. Replaced Vargas and Petty as Esquire’s main pin-up man. Moore’s girls are less glossy and impossible than those of his talented predecessors, being more girl-next door realistic and natural. He provided calendars for Esquire, Brown and Bigelow. Last illustrations for Pan Am and US Olympics.

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Text from “AmericanArtArchives

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Gerald Brom (born March 9, 1965 in Albany, Georgia) is an American gothic fantasy artist and illustrator, known for his work in role-playing games, novels, and comics.

Early life
Brom was born March 9, 1965, in Albany, Georgia. As the son of a U.S. Army pilot he spent much of his early years on the move, living in many countries such as Japan and Germany (he graduated from high school in Frankfurt, Germany), and U.S. states including Alabama and Hawaii. Brought up as a military dependent he was known by his last name only, and now signs his name as simply Brom: "I get that asked more than just about any other question. It’s my real name, my last name. I got called Brom all the time as a kid, and it just stuck."

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Brom has been drawing and painting since childhood, although he had never taken any formal art classes. "I wouldn’t exactly call myself self-taught, because I’ve always looked at the work of other artists and emulated what I liked about it. So you can say they taught me." Brom cites the work of Frank Frazetta, N.C. Wyeth, and Norman Rockwell as influences on his style: "Okay… Rockwell isn’t the kind of inspiration most people expect from me, but he just painted things so well. To me it’s not so much the genre but the way it’s done, and you have to admire his technique."

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At the age of twenty, Brom started working full-time as a commercial illustrator. By age twenty-one, he had two national art representatives, and was doing work for such clients as Coca-Cola, IBM, CNN, and Columbia Pictures. TSR, Inc. hired Brom on full-time in 1989 at the age of 24. Brom contributed to all of TSR’s game and book lines, particularly the Dark Sun setting: "I pretty much designed the look and feel of the Dark Sun campaign. I was doing paintings before they were even writing about the setting. I’d do a painting or a sketch, and the designers wrote those characters and ideas into the story. I was very involved in the development process. I’ve been fortunate to be involved in the development end of a lot of projects I’ve worked on, from role-playing games to computer games." His paintings have been published in collectible card games such as Wizards of the Coast’s Magic: The Gathering and Last Unicorn Games’ Heresy: Kingdom Come. Brom’s paintings, along with Frank Frazetta’s, were used in the development of the visual look of the game series Warlords.

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In 1993, after four years at TSR, Brom returned to the freelance market, still specializing in the darker side of the roleplaying game, card game, and comic book genres. His artwork also appeared on book covers from authors such as Michael Moorcock, Anne McCaffrey, and Terry Brooks. Brom contributed conceptual work to computer games such as Heretic II, and several top creature houses for films such as Stan Winston Studios; he also co-created, art directed, and illustrated the Dark Age collectible card game. He has since worked as a movie concept artist, and created illustrations for comics (by DC, Chaos, Dark Horse) and computer games (for id Software, Blizzard, Sega and Activision). Brom has also been active with a line of Brom fetish toys from Fewture and a series of bronzes from the Franklin Mint and paintings for novels (by Michael Moorcock, Terry Brooks, R.A. Salvatore, Edgar Rice Burroughs).

Brom returned to TSR in 1998, doing paintings for the Alternity game, the AD&D role-playing game and its Forgotten Realms and Planescape lines, and covers for Dragon and Dungeon magazines. His work is included in the book Masters of Dragonlance Art. He has also returned to painting for book covers for TSR’s successor Wizards of the Coast, including the covers for the War of the Spider Queen series and reprints of The Avatar Series.

Text from Wikipedia, the free encyclopedia


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So, you thought he made only one set 😉 – Ted

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Erich Sokol (31. March 1933 in Wien -  20. February 2003 in Mödling) waas a Austrian caricature artist and illustrator. Sokol is most famous for his work in Playboy Magazine.

Sokol had a splendid sense of light, color and atmosphere. He was far more talented than traditional pin up artists such as Vargas, whose uninspired paintings now sell for tens of thousands of dollars.

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Note the confidence with which Sokol handles the stripes of light on the beach in the following painting, or his treatment of the foliage in the background. Nothing is labored, and no unnecessary details.

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Although the beautiful girl was always the centerpiece of the cartoon, if you look closely you will see that Sokol had more fun painting the male counterpart– the fat doctor, the grizzled farmer, the blustering general all left him more room for creativity.

Text and images found at “Illustration art

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"Brownie," as his artist friends called him, epitomizes the rule of "90% of life is just showing up." A Canadian school drop out, he worked on a steamer, sketching in his spare time (he sold these to newspapers). Saving his earnings, he enrolled at the Art Student’s League and studied under Walter Appleton Clark, F W DuMond, and FR Gruger. When a friend got a job from the Saturday Evening Post to cover a circus, Brownie went along. The Post liked the article AND Brown’s circus drawings. They bought them, a relationship between publisher and artist that lasted 40-years. Brown’s pencils appeared in most Post issues from the teens on. He concentrated on story art (no covers) for Collier’s, College Humor, Redbook, Cosmopolitan. He also contributed posters for the WWI effort and book art for books (The Magnificent Ambersons, Alice Adams, The Fortune Hunter, The Upper Crust, Messer Marco Polo, The Midlanders, The Lady Evelyn). The vast majority of Brown’s work was in pencil, though ink and color wash began appearing in his kit from the early 30s.

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Text from “American Art Archives

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Lawson Wood, sometimes Clarence Lawson Wood, (23 August 1878 – 26 October 1957), was an English painter, illustrator and designer known for humorous depictions of cavemen and dinosaurs, policemen, and animals, especially a chimpanzee called Gran’pop, whose annuals circulated around the world. Wood was decorated by the 116986_lw2French for his gallantry at Vimy Ridge during World War I. He was deeply concerned with animal welfare and was awarded membership in the Royal Zoological Society in 1934. His animal designs were reproduced as wooden toys and he established a sanctuary for aged creatures. In his later years, he was a recluse and died in Devon in 1957.

Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood,[1] and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley’s School of Fine Art and Frank Calderon’s School of Animal Painting.

In 1896, he was employed with periodical publisher C. Arthur Pearson Ltd. In 1902, he married Charlotte Forge. From the age of 24 he pursued a successful freelance career and was published in The Graphic, The Strand Magazine, Punch, The Illustrated London News, and Boys Own Paper. He illustrated a number of books including Louis Tracy‘s The Invaders in 1901 for Pearson.

116986_lw3By 1906, he was recognized for his humorous style, especially for his depictions of stone-age humans and dinosaurs. His standing among artists was made obvious when he was chosen by art instructor Percy V. Bradshaw to launch The Art of the Illustrator, a collection of twenty portfolios demonstrating six stages of a single painting or drawing by twenty different artists.

Wood was a member of the London Sketch Club, and a close friend of fellow member Tom Browne whose influence is clearly seen in his work. He was elected a member of the Royal Institute of Painters in Watercolours and exhibited with Walker’s Galleries, Brook Street Art Gallery, and the Royal Academy.

During World War I, Wood served as an officer in the Kite Balloon Wing of the Royal Flying Corps, and was responsible for spotting planes from a hot-air ballon. The duty was dangerous, and Wood was decorated by the French for his action over Vimy Ridge. Wood’s patriotic designs were published by Dobson Molle & Co.

116986_lw4After the war, his animal designs were published by Inter-Art and Valentine, and his bird, animal, and human designs were reproduced as a line of wooden toys known as "The Lawson Woodies". In 1934, he was awarded a fellowship of the Royal Zoological Society for his work with animals and his concerns about their welfare. He established his own sanctuary for aged creatures. The ape Gran’pop brought Wood fame abroad and the Gran’pop’s Annuals were circulated around the world. An animated film was planned around Wood’s characters and designs at Ub Iwerks’ Hollywood studio but was scuttled with the outbreak of World War II.

His books include The Bow-Wow Book (1912), Rummy Tales (1920), The Noo-Zoo Tales (1922), Jolly Rhymes (1926), Fun Fair (1931), The Old Nursery Rhymes (1933), The Bedtime Picture Book (1943), Meddlesome Monkeys (1946), Mischief Makers (1946), and others.

Wood was a recluse during his later years and dwelt in a 15th-century medieval manor house he moved brick by brick from Sussex to the Kent border. He died in Devon on 26 October 1957 at the age of 79.

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11675_linNorman Alfred William Lindsay (22 February 1879 – 21 November 1969) was an Australian artist, sculptor, writer, editorial cartoonist, scale modeler, and boxer. He was born in Creswick, Victoria.

Lindsay was the son of Anglo-Irish surgeon Robert Charles William Alexander Lindsay and Jane Elizabeth Lindsay from Creswick. The fifth of ten children, he was the brother of Percy Lindsay (1870–1952), Lionel Lindsay (1874–1961), Ruby Lindsay (1885–1919), and Daryl Lindsay (1889–1976).

Lindsay is widely regarded as one of Australia’s greatest artists, producing a vast body of work in different media, including pen drawing, etching, watercolour, oil and sculptures in concrete and bronze.

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A large body of his work is housed in his former home at Faulconbridge, New South Wales, now the Norman Lindsay Gallery and Museum, and many works reside in private and corporate collections.

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His frank and sumptuous nudes were highly controversial. In 1940, Soady took sixteen crates of paintings, drawings and etchings to the U.S. to protect them from the war. Unfortunately, they were discovered when the train they were on caught fire and were impounded and subsequently burned as pornography by American officials. Soady’s older brother Lionel remembers Lindsay’s reaction: "Don’t worry, I’ll do more."

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From Wikipedia
, the free encyclopedia
James Avati (December 14, 1912, Bloomfield, NJ – February 27, 2005, Petaluma, CA) was an American illustrator and paperback cover artist. His father was a professional photographer in New York City. His mother died shortly after Jim’s birth. He was raised by his aunt (mother’s sister) and eventually, his father married her. While Jim was still young, his father died and another aunt and uncle helped to raise him in Little Silver, New Jersey, where he grew up. His uncle paid for his education at Princeton University where he obtained a degree in architecture in 1935.

fotoedschildersvanavativoorezel300He was always interested in painting and loved to paint. After World War Two, Avati obtained a job designing display windows at Fifth Avenue department stores in New York. But he continued to paint on the side and in 1948, impressed Kurt Enoch at New American Library, a new paperback publishing house. He was a hit from the beginning and changed the style of cover painting by the early 1950s. Among the authors he worked with included the likes of Theodore Dreiser, William Faulkner, Erskine Caldwell, J. D. Salinger, James T. Farrell, Pearl Buck, John O’Hara, Mickey Spillane, Erle Stanley Gardner, Alberto Moravia, and James Michener.

He quickly became legendary and was highly sought after. He fathered nine children through two marriages, including a son who became a well-known sculptor, James R. Avati, of Salt Lake City, Utah.

He used professional models at first but soon used friends, family and people off the streets of Red Bank, New Jersey, his home for much of his life, as models. He sought reality in his representations on canvas and real people worked for him better than professionals.

Avati eventually moved to Petaluma, California, to pursue a love interest and died (February, 2005) at age 92. He had stopped painting towards the end as he was losing his eyesight due to macular degeneration.

He has been called the "Father of Paperback Book Covers" and the "Rembrandt of Paperback Book Covers". Ironically, his own life mirrored the novels he painted.

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Underwood trained at the Art Students League and the Julian Art Academy in Paris.  He was an important illustrator of magazine covers for Century, Studio, McClure’s Harper’s and The Saturday Evening Post, who found himself in great demand during the great postcard era. He is known for his beautiful women, often wearing colourful hats.

Underwood did covers and illustrations for novels and other types of books. (The Spoilers, The Flirt, The Port of Missing Men, The Incomplete Amorist. Also had his own monographs: Love Songs Old & New, Girls Of Today, American Types; contributed to A Book Of Sweethearts.

Many of his paintings were romantically influenced, showing courting scenes from over the fence line to stealing a kiss over a chessboard.

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Biography from
Been publishing, I’m back
James Montgomery Flagg was an early master of pen and ink, but he was much more. Born in 1877, he grew up along with the reproduction technology that allowed artists to select the pen as the illustrative tool of choice. Charles Dana Gibson, who pioneered 11215_jmf1many of the techniques that Flagg would draw upon, was ten years older. Others born within a year of Flagg include Stanley M. Arthurs, Ivan Bilibin, Walter Appleton Clark, Fanny Y. Cory, Frank Leyendecker, Norman Price, Harry Rountree, Frank Schoonover, Everett Shinn, J. Allen St. John, Sarah Stilwell, and J. Scott Williams.

A true child prodigy, Flagg sold his first illustration, to the prestigious St. Nicholas Magazine no less, at the age of twelve. You can read about his early encounters with the editor in a 1915 article in The Century.

This early sale proved not to be a fluke. By the age of 15 he was on staff at both Life and Judge, the premier humour magazines of the day. Below left is an 1894 illustration from Life. Below right is an early drawing from Judge, probably circa 1905.

11215_jmf3It’s kind of hard to imagine today, but the teenage Flagg grew up in the company of some of the most respected magazine editors of the day. Drawing was his passion and the traditional pastimes of youth were of no interest to him. Although he spent several years in art schools, most notably the Art Students League (1894-1898), his real education came from the material that passed over the desks of the editors of St. Nicholas, Judge and Life. These he was allowed to study and the lessons he learned from them were more valuable than all of his schooling. Those same publishers made use of the young Flagg for his earliest magazine covers are from 1895 and ’96.

From 1898-1900 Flagg studied painting in England and France. His first book was Yankee Girls Abroad (1900). That same year he had a portrait accepted to the Paris Salon, but he felt that painting was not his forte and returned to illustration. Above left is an image from the January 1902 issue of Harper’s Monthly – perhaps the only work he did for the magazine.

Most of the early years of the century were still spent at Judge and Life and Harper’s Weekly – Life released four collections of his "limericks" (just clever poems, really) in 1904. By 1905 he began to illustrate books again. At right is one of the plates from An Orchard Princess from that year. These early efforts were mainly paintings, despite his focus on pen & ink at the humour magazines. It wasn’t until about 1906 that his recognizable pen style appears in his book illustrations. A good example is show below from Simon the Jester (1909).


Flagg was a rakish fellow whose cocky self-assurance served him well in the highly competitive illustration markets. Stories abound of his deeds and misdeeds. Susan E. Meyer in her excellent James Montgomery Flagg relates how he persevered in his 11215_jmf2attempts to break into the Scribner’s Magazine market. He was finally, so the story goes, asked to tackle an assignment that had stumped three other artists. Flagg supposedly solved the problems of this difficult Voodoo storyline and became a regular contributor.

All well and good, except I’ve checked all the Scribner’s from 1904 through 1907, when he is an established contributor to the magazine, and there doesn’t seem to be any JMF Voodoo story. In fact, his first appearances in 1906 are rather pedestrian. But it makes a great story…

Flagg was outspoken and lived a bohemian style of life. Despite a marriage that lasted from 1899 until his wife’s death in 1923, he was known for his cavorting around town with pals like John Barrymore. He was close friends with many of his contemporaries: Arthur William Brown, Walter Appleton Clark, Ham Fisher, Rube Goldberg, etc. Flagg was a founder member of the infamous Dutch Treat Club in 1906 (its president in 1913), a loose association of creative types that turned into an organization still going strong today.


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