Bradbury Thompson (1911–1995), the elegant American designer who made Westvaco Inspirations a design studio must-have, produced many unheralded things. Among his clients were the Famous Artists Schools, Inc., from Westport, Connecticut, for which he designed their annual reports. All Thompson’s work was typographically precise, and the 1963 annual report is no exception. But Thompson was also a storyteller, using whatever graphic and visual means were at his disposal. The Fam
Find great deals on '"Hitting the Buffet," November 11, 1961' Giclee Print by George Hughes at AllPosters.com, with fast shipping, easy returns, and custom framing options you'll love!
In recent years, the leading midcentury American illustrators, such as Tom Lovell , Coby Whitmore , Harry Anderson , and Albert Dorne ar...
МАСТЕРА КНИЖНОЙ И ЖУРНАЛЬНОЙ ГРАФИКИ, ARTWORK of ILLUSTRATION
Agnes Miller Parker (1895–1980) was a printmaker and illustrator whose work is not as well-known amongst admirers of 20th century UK printmakers. While her colleagues, such as Gwen Raverat, Robert Gibbings, and Paul Nash, have all received critical admiration Miller Parker is just now receiving her due. She was born at Irvine, Ayrshire, Scotland. She studied at the Glasgow School of Art from 1911 to 1917, and briefly taught at the school. In 1918 she married the painter, William McCance; and spent most of her career in London and southern Britain. She was one of four engravers who worked at the Gregynog Press in the early 1930s. Miller Parker's technique created a light not seen before in printmaking and she successfully introduced a new element into the medium, and few printmakers have been able to emulate it. In 1955 she moved to Glasgow. She then lived at Lamlash on the Isle of Arran. She died in 1980 at Greenock. Her first prints, made in 1926, reflect her interests in cubism and the short-lived movement called Vorticism, active in London in the 1920s. She learned the print medium from her colleagues, Gertrude Hermes and Blair Hughes-Stanton. Miller Parker turned away from the private press movement towards the commercial publishers, and it was here that she was to produce some of her most distinguished books. The main body of her work consists of prints for book illustrations, demonstrating fine drawing skills and her love of black and white design. She illustrated the following books: The Fables of Aesop (1931) Through the Woods by H. E. Bates(1936) The Open Air by Richard Jefferies (edited by Samuel J. Looker, 1949) Various titles for the Limited Editions Club of New York and editions of the works of Shakespeare and Thomas Hardy. Miller Parker's body of work show her love of nature through her curving sinuous lines and elegant combination of textures and flow of composition. It is a pleasure to find this printmaker's work is seeing a resurgence of attention. Check her out and see if you can collect some prints before they become too hard to find.
A new exhibition at the Dulwich Picture Gallery in London is the first of Rockwell's original works in this country.
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Norman Rockwell's paintings and illustrations are popular for their reflection of American culture. His artwork depicts traditional home and family life while evoking a sense of nostalgia in its viewers and utilizing humor to provide an escape from the mundane. Alternate Title: He Sent Me a Parker Pen. Approved by the Norman Rockwell Family Agency
Adam Hughes did a fantastic piece for ImagineFX that went over his process, including some of his photo reference. TwoMorrows also ran a great photo of Adam with his WW model, Julie Rapp, in issue 21 of Comic Book Artist magazine.
One of the many benefits of putting together this blog is being the recipient of the tremendous generosity of a great many people. For instance, on several occasions I've received packages of old magazine clippings that others have collected. Today, I'm sharing with you a small sampling from one such package. All of these images are from Marvin Friedman's Al Parker clipping file, which Marvin collected for his own reference and inspiration over the long years of his career. When I interviewed Marvin for the series of posts on his career, the topic of Al Parker came up. Marvin mentioned that Parker had been "a mentor" and "a very dear friend." I asked him to tell me the story of his first encounter with Al Parker... Marvin began, "I wrote him a letter when I was in art school. A couple of us got into a convertible and drove up to Westport [CT] to see all the illustrators who lived there. We found out Al Parker liked on Mayflower Parkway. So we drove up there and stood across the street. There was this nice little house with a Chevy station wagon in the driveway. We were like, "Al Parker drives a Chevy station wagon? We were expecting a f#%@ing Rolls Royce in the driveway!" (we both laugh) "Anyway, he came out with his family, got in the Chevy station wagon and drove away. My friend said, "Why didn't you go up and knock on the door?" But, you know, that's the kind of adulation for an illustrator you don't find anywhere today. They don't know anybody, they don't care, they don't wanna know... well, maybe just you do." (we both laugh again) Marvin later became close friends with Parker and visited him many times at his home in Carmel after Parker moved to California. What's really interesting about this great batch of clipped pages Marvin sent is getting to see, in a single dose, the length of Parker's career and how his style evolved with the times. To better demonstrate what I mean, I selected an assortment of images from Marvin's collection and arranged them here chronologically, from the 1930's to the 1960's. As always, they show not only how clever Parker was as an image designer, but what an astute observer of the changing times he was - not to mention his tremendous versatility and adaptability. Do yourself a favour and spend some time really looking at all of these pieces. Even after all these years Parker's remarkable work is as fresh and vital as the day it first appeared... Many thanks to Marvin Friedman! I'm sure you share my feelings of gratitude for the gift of these images - and the many others I'll be presenting in the weeks and months ahead. * My Al Parker Flickr set. * My Marvin Friedman Flickr set. * Marvin Friedman's website. *AND* Be sure to take a second look at yesterday's Harry Anderson post (below). Later in the day yesterday I received a long note from TI list member Kent Steine, who knew Harry Anderson personally. Kent shed some light on Anderson's working method, his use of casein, and he even sent along a photo of Harry Anderson looking at one of Kent's sketchbooks. All of which I have now added to the end of yesterday's post.
copyright- estate of Norman Rockwell
Adam Hughes did a fantastic piece for ImagineFX that went over his process, including some of his photo reference. TwoMorrows also ran a great photo of Adam with his WW model, Julie Rapp, in issue 21 of Comic Book Artist magazine.
Pages were salvaged out of a 1963 copy of Holiday Magazine. Please see photos for condition details - some are lightly bent - no creases. Suitable for framing! Items ship in the least expensive manner available; please keep in mind this is not always the fastest . ANY SHIPPING OVERAGES WILL BE REFUNDED IMMEDIATELY UPON LABEL PRINTING, LESS $1.00 TO COVER SHIPPING MATERIALS. You only pay what I pay! If you purchase 2 or more items, I always combine shipping. PLEASE NOTE: Items are vintage and therefore may have picked up some odors along the way. ALSO: We are a pet-friendly household and, unfortunately, still a smoking household. Thanks for stopping by and Happy Shopping!
Agnes Miller Parker was born in Britain in 1895, at Irvine, Ayrshire. She studied at the Glasgow School of Art from 1911 to 1917, and join...
