Don't be fooled by his mild PBS persona; the beloved painter was actually an exacting artist and businessman with — brace yourself — naturally straight hair.
Another round of mid-century album cover art. If you missed my other vintage cover posts click here and here . John Brandt, 1954 David S...
Out of personal or widespread upheaval, of pleasant or painful nature, come artworks that prove to move us. They give the sense that our experiences are translatable and digestible.
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You'll beat The Oregon Trail one day!
Bob Haberfield - Mind at Bay, 1974.
Learning the art of relaxation from the master of happy accidents (and accidental life advice).
If you’ve ever cast your eyes over the film posters of Apocalypse Now, Superman, My Fair Lady, Rollerball, Star Trek and The Spy Who Loved Me – to name a few, then you’ve already seen the artwork of American illustrator Bob Peak. The Denver born artist was known as “The Father of The Modern Hollywood Movie Poster”.However [&hellip
These celebrities ultimately win the "20-year challenge."
As a kid trying to learn to draw simple drawings fascinated me, which was why I love comic books. Another source that I copied over and over were the caricatures done of the cast of “My Fair Lady” by Hirschfied comics. Years later as my tastes matured, I found myself drawn to another artist who did the movie poster of the same play, using equally simple, clean drawings but put together with an amazing complexity: Bob Peak. Born in Colorado in l928, Peak was raised in Wichita. In college he studied Geology with an art minor, because of his doubts about making a living as an artist. But these doubts didn’t keep him from working part time in an art department and spending his own time doing illustrations for himself. After serving in the Navy in the Korean War he was accepted at Art Center in LA where he studied for the next two and half years. Then, with a family now, the Peaks headed east to NYC and the competitive world of commercial art. Advised to constrain his exuberant style Bob tried the controlled photographic approach to the work, but he was miserable. Deciding either to do things the way HE thought they should be done or to move back to LA, he and his wife burned everything he had drawn since moving to NYC. He started over, in his own style. Six weeks later he landed a major account for Old Hickory Whiskey and his work was on the back cover of Life, Look, and all the major magazines. His career was on the way. And what a career! There are over 100 movie posters (Camelot, Apocalypse Now, Star Trek, Pennies From Heaven); his portraits were regularly on the cover of Time and TV Guide; beside years of advertising and story illustrations he created a series of mural decorations for TWA; he created the Marlboro man; in l984 he was chosen to design a series of stamps for the Olympics - and a series of paintings to accompany them compiled in a book published by the US Postal Service. Mainstays of his work were always the deceptive simplicity of his drawing done with an astounding spontaneity in an incredibly complex design of shape and color. To create this effect in earlier works, he worked out very complete pencil comps and had large Photostats blown up, on which he painted directly, letting the pencil line show through. For his movie posters, he would often do preliminary drawings much tighter than the finish so that when he was working on the final product he could loosen up. His methods and techniques were astounding. He used oils, watercolor, acrylic, gauche, pencil, pastels - whatever it took to achieve the effect. His sense of design revolutionized the approach to the movie poster in the 70’s and 80’s. Looking over my tear sheet file to choose examples of Bob Peak’s work his incredible versatility kept jumping out at me. Even if you had no interest in art, whether you knew his name or not, you couldn’t avoid Bob Peak. He shaped the visual look of a generation. For those of you who are fans of Bob peak, his son Tom has produced one of the finest illustration books I've ever seen. This is a must for any of Bob's fans, and for any serious students of illustration. Check it out: http://www.bobpeak.com/bob-peak-book/ And speaking of another fine Arizona illustrator, my old friend Steve Rude is teaching a painting workshop. Steve's work speaks for itself, and I can't think of a better artist to have the chance to learn from. http://www.dillmans.com/dcaf/2012/steve-rude.html
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Cosmopolitan magazine Illustrated by Bob Peak June 1964
1960 must have been a very good year for Bob Peak. Before the Old Hickory campaign of '58 and '59, his career had been sputtering along - but now, as David Apatoff described in one email message to me, Peak's work seemed to be imbued with a "white hot creativity." After all, could the mid-50's Bob Peak have sold a client on the idea of a green man drawn in a distorted style as the best way to advertise their product? I don't think so. But at last times had changed, and all of a sudden Peak's signature - and signature style - seemed to be everywhere. In his article in Illustration magazine #6, Thomas Peak, the artist's son, writes: "Using the [Old Hickory] bourbon campaign as a springboard, it was only a matter of months before Bob found his illustrations on the back covers of Look and Life magazines, and he went from making virtually nothing a week to making over $40,000 a year. In quick succession, Bob Peak had established himself as a name in the commercial art world. The impact of his work with the Old Hickory campaign led him to other assignments from Pepsi-Cola, Chrysler, and Dobbs Hats." Bob Peak was named "Artist of the Year" by the Artists Guild of New York in 1961. At last, he had arrived. That same year, Peak began what would be a long, successful association with the film industry. Tom Peak writes, "David Chassman, an executive at the United Artists film studio, hired Bob to create a new look for a feature film version of the hit Broadway musical West Side Story [below]. Up until this time, the major studios such as Universal, Allied Artists, and MGM had used illustrators such as Reynold Brown, Ken Sawyer, and Joe Smith to create the “key art” during the ’50s and ’60s for westerns, romances, and monster movies. The art created for this film was a radical departure from the established styles of these other artists." As Bob Peak's popularity spread far outside the New York market, even art directors in far-flung regions, typically working with smaller budgets, were making exceptions if it meant they might get Bob Peak in on an assignment. Charlie Allen, who worked in the San Fransisco area, sent the pieces above and below and writes, "Saw the two Hawaiin Punch originals at McCann-Erikson and was a bit miffed. I'm positive they paid Peak more than we local yocals... they were tight spenders locally!" While many other formerly successful illustrators saw their own careers sinking beneath a tide of change that was sweeping through the print industry in the early 60's, it was 'full steam ahead' for Peak. His tremendous popularity didn't neccessarily convince all of his peers of the merit of his work, however. David Apatoff relates this anecdote: "In 1964, the Famous Artists School wanted to put out a new edition of their materials, and wanted to bring in the younger crop of fashionable illustrators so that the FAS would appeal to the next generation. So all of the old greats-- Dorne, Ludekens, Rockwell, Briggs, etc., -- had to pass judgment on who was good enough to join "the club." Most of the choices were obvious, but there was a real split of opinion over Peak. Some of the old guys (led by Briggs) thought that Peak was flashy, but just not good enough, and strongly opposed extending him an invitation. Ultimately, they chose to invite him." Because inevitably, there was no denying that the 'Golden Age' of 1950's illustration was over - and it was time to adapt or die. As Charlie Allen puts it, "To be honest I wasn't a big fan of Bob Peak's work until he began the amazing Hollywood movie posters. Wow! Wasn't a big fan of Potter or Hays, but I did use techniques, more underpainting, textures, etc. they pioneered." * I have many people to thank for assisting me with this week's topic: Barbara Bradley, Charlie Allen, David Apatoff, Tom Watson - and today, Larry Roibal as well - for their advice, opinions, information and scans, and Dan Zimmer for allowing me to excerpt passages from Tom Peak's article in Illustration magazine, which are ©2003, 2008 by Tom Peak, Dan Zimmer and The Illustrated Press, Inc., and all artwork © The Estate of Robert Peak. There is much, much more on the artist at Bob Peak.com My Bob Peak Flickr set.
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NEW: I'm now making music, JOIN ME ON SOUNDCLOUD! Buy prints, canvases and posters of this artwork HERE. Work in progress HERE. This is a digital work but I placed the circles one by one on a black background. This is really a time consuming technique... I have always loved Bob Marley. I've made several portraits of him in the past, Jah bless! Important note: This portrait is sold illegally on t-shirts in many shops in Asia and in South America... If you support my work, do not buy these shirts. For more info about my projects, contact: [email protected]
FAS Magazine 1967 Famous artist magazine
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Bob Peak Famous Artist Course 1967
When I was an young and ignorant wannabe cartoonist long before I discovered illustrators, I knew who Bob Peak was. His drawings on My Fair Lady, Camelot, and numerous other movie posters and TV Guide covers were things that I had seen…and they impressed me tremendously. As I learned a bit more about art and the wonderful talents that worked in the field of illustration, Bob Peak still remained one of the giants for me. The sublime designs and the his spontaneous approach to the drawings display a facility with the work that never fails to amaze me. His son Tom has already one produced one must have book on his father’s work: The Art of Bob Peak. (If you don’t have this one, visit www.bobpeak.com immediately and pick it up. Trust me. You won’t be disappointed.) Now Tom has a Kickstarter campaign to produce another book: The Drawings of Bob Peak. As you look as the examples I’ve posted from my tear sheet collection, you can see that this is another “don’t miss” opportunity. (And I say this from experience. To this day I still mourn the Japanese edition of a collection of Bob Peak’s drawings that I’ve never been able to find or replace.) Unfortunately, I wasn't able to upload the Tom's video for the campaign, but it is available at: http://www.bobpeak.com/ Good luck,Tom! Time is precious on this one…the campaign end in another couple days. And if you really want to make an impression, there is a tier where you can actually own an original Bob Peak drawing. Best, Mike
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37 Original Artworks curated by Jessica McQueen, Pop Art. Original Art Collection created on 11/19/2015.
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