Back to School - Back to Work!

Last week was the beginning of the fall semester at Mohawk College where I teach (in the Graphic Design program). After the leisurely pace of summer life I'd grown accustomed to, the change to a more rigorous daily schedule sort of caught me off guard.



As a coordinator in the program I had faculty meetings to attend, scheduling conflicts to work out and, in the bustle of a campus that had suddenly come alive with activity, a million little unforeseen problems needed attending to.



With all of those responsibilities monopolizing my time I had to put the brakes on my plans for that week's TI topic.



Just the act of attaching names to all those fresh new faces in my classroom was a challenge, let alone actually teaching and supervising the start of their first assignments!



By the time we all packed up at the end of each day my voice was hoarse, my feet hurt, and my brain was fried.



All I wanted to do was get home and relax. After making dinner. And prepping the next day's lesson. And dealing with emails from administration. And, and, and... !



I want you to know I tried... I really did. I sat and scanned stuff and began transcribing an interview I'd done with a retired illustrator who I'd planned to feature - but I just couldn't get it done. I was just too tired! Those kids wore out! I was in bed at 9 o'clock every day last week!



Well, this week I'm determined to get back on track. I've got a wonderful series lined up and ready to go, which will start tomorrow morning. Meanwhile, I ask you to be patient. I'm really stoked about my courses at the college and have to make that my top priority. So if I drop the ball now and then, don't lose faith - I'm as passionate as ever about Today's Inspiration and your encouragement and support is what keeps me going.



* Incidentally, if you're at all curious about what I'm teaching, I started a blog for one of my courses (I'll be doing so for all of them eventually) where you can read about the assignments my students will be doing and follow their progress. Visit Promotional Illustration with professor Peng for more details!

* Ever wonder what I look and sound like? The college asked me (and a number of other new instructors) to participate in their current marketing campaign, called "Learn from Experience". Watch my video here.

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Some Labour Day Weekend Reading

I don't know how many readers get to celebrate Labour Day Weekend by, err, not labouring... but regardless, here are some great places to visit if you'd like a hit of visual inspiration in the vein of TI... while I labour away at some freelance. ;^)

From the Scrap Files of P&H

Bruce Hettema writes, "When I purchased [San Fransisco art studio Patterson & Hall], I discovered an old file cabinet containing the agencies scrap files going back to the 1920′s. The files contained reference photos taken for the staff illustrators, advertisements, and samples of illustrators the agency admired. Over the coming weeks I will post these samples at the P&H Creative blog, along with some bio info and my commentary."



Bruce has already written about two artists represented in the P&H Scrap Files. The first is MAURICE LOGAN (1886-1977)



"There are 2 sides of Maurice Logan," writes Bruce. "The illustrator, and the fine artist. What I like about his work is his ability to, at times, combine these 2 worlds. You can often see in his commercial work the loose, impressionistic brush stroke of a fine artist and his non-commercial work shows what a keen an eye for design and composition he had."

"By 1915, Maurie Logan was a leading illustrator in San Francisco. His specialty was creating painted images on demand for advertising work. Someone else would then usually do the lettering and layout work. His expertise with the landscape and the figure made him very versatile." Read more...

Bruce's second post is on ROBERT RIGGS (1896-1970)



Bruce writes, "I was not familiar with the work of Robert Riggs, but I can see how his style has influenced some contemporary illustrators. His heroic figures, with their thick, block shapes look like they where hewn from stone. They are compelling, yet at the same time eerily disturbing. You can especially see this in his later lithographic work depicting circuses, boxers and psychopathic wards." Read more...

* I'll be sure to let readers know when Bruce updates the P&H Scrap Files!

Three by Georgi

Chadwick Crawford writes, "I found a couple of Edwin Georgi images at a vintage magazine shop and scanned them today. I posted them to my blog which nobody reads."

That's a shame, because Chadwick has a bunch of great mid-century illustrations posted, including some terrific paper back cover art.



Chadwick offered to send me his Georgi scans - but I have so many of my own (like the one above) I decided I'd encourage you instead to visit Chadwick's blog and enjoy his scans there.

Catching Up with Marvin Friedman

Rick Friedman sends a quick note: "Check out the new updates!" And you really should - there is so much spectacular artwork on Marvin Friedman's website... Marvin's "Current Works" section alone is beyond belief. Gorgeous, sensitive observational artwork that is at once visceral... and magical.



Marvin's got guts and as far as I'm concerned he should be considered a national treasure. Marvin Friedman.net

Vida e Obra

Evandro Rocha writes, "Would you consider writing a post on a Brazilian artist? There is an artist I am a fan of and I would be very pleased if you could do a post on the work of '70s artist, Joseph Lanzellotti.

Unfortunately I have no knowledge of this artist or examples of his work. But readers might enjoy visiting Evandro's blog, where they'll see a couple of pieces by Lanzellotti (and hopefully there will be more to come in the future).

Unknown Spanish Illustrators

Enrique Flores writes, "Greeting from Spain! I've been posting some stuff about unknown spanish ilustrators (Bagaría, Lata) that might interest you. You'll find it here"



Thanks Enrique!

NCS Spotlight on... Hank Ketcham

A reminder that each week the NCS blog features a 'spotlight' on one of its members, culled from the archives of Today's Inspiration. This week its Hank Ketcham's turn in the spotlight. Drop by the blog for some neat, rarely seen spot cartoons by the creator of Dennis the Menace.

And speaking of Ketcham, here's an obscure cartoon spot. This was sent to me by the owner of the original who wrote, "My father was an Illustrator all of his life. He was in the Navy working on ships as a signalman during WWII. It was during a visit of an officer that he was recognized for his artistic ability. The Navy transferred my father to work in Washington D.C. to draw and sketch. It was in D.C. that my father met Hank Ketchum, Also working for the Navy."



"Long story short, they both drew. Although my father never became famous, he supported and raised all five of us children through his talent as an illustrator and a draftsman. My father stayed in touch with Hank on occasion. Hank sent my father a cartoon unlike any I have ever seen. It is of a small girl in an attic playing "dress-up" with the items from an old chest. It could be an idea that never came to pass. If you could help me identify a time period for this cartoon it would help me greatly."

I forwarded the note and the scan to Marcus Hamilton, who draws the Dennis daily panel. Marcus replied, "That’s a great illustration by Hank. And an interesting email from [the owner] regarding his father’s association with Hank in the Navy. I sent the image to Dottie in our home office and to Ron, our Sunday artist, and neither knew a date nor publication that the art was created for. It looks like one of his spot illustrations for either Saturday Evening Post, or Colliers, both of which were regular clients of his during his freelance days in the late ‘40s, prior to Dennis in 1951. That’s our best guess." Thanks Marcus!

And Finally...


I don't often plug my own stuff on Today's Inspiration (hey, I was born in the mid-century but I didn't start illustrating until the late century! ) but I did just write a HUGE long post about all the Pokémon artwork I drew about a decade ago, with a TON of examples from that particular adventure. If you still want more Labour Day Weekend reading and you're up for something a little more contemporary, you might enjoy taking a look at "my Pokémon adventure" at Leifdrawing101

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"Obscure, but fine drawings for "pen and ink" fanatics"

I am always grateful for the contributions - both images and words - so generously shared by those who visit this blog and my illustrator archives on Flickr. For example, about nine months ago I posted this image below by Henry C. Pitz. On the image's Flickr page, my friend Norman C. Mallory commented, "Pitz has been important to me since high school. He's underrated ( and forgotten!) these days-- classed with Adolph Dehn and the like ( not that Dehn is entirely without charm... )."



"Pitz's book for Watson-Guptill on pen and ink drawing is a treasure. I was lucky enough to find a hardback in good condition (from about 1949) pretty cheap at a used bookstore-- when there were many good used bookstores around."



A few days later Norman sent me an email:

"Inspired by your recent Pitz postings (I consider Pitz one of my most important "teachers", his books have tutored me since I was 15), I scanned some crisp repros from my pristine hardback edition of PEN, BRUSH AND INK, published in 1949 by Watson-Guptill. I was lucky enough to find a clean copy in a used bookstore a few years ago."

"These are masterful pen-and-ink drawings by relatively unknown artists whose work appeared in THE SATURDAY EVENING POST."

... and soon after the following scans I'm sharing with you today arrived. I've posted these scans extra large so you can click on them and marvel at the details as I did. Norman adds some brief, appreciative remarks:

"The Paul Nonnast and Fred Freeman drawings are, I think, superb. The Justis "worksheet" a treasure, and the Coll-- well, what does one say about the music of Chopin and Beethoven on the same page... ?"



"I love the combination of freedom and control in this drawing, and the sense of the wind's power... "



"The variety of marks Justis uses is apparently inexhaustibly inventive... "



"Not much to say about this beauty-- except the influence of Vierge is strong here. Coll got bolder toward the end of his short life. The Flesk books, with generous sized repros and details, show that clearly."



"I thought, possibly, that [these images] might find a home among your magnificent archive of postings. I know there must be more "pen and ink" fanatics who would like to see these obscure, but fine drawings."

And I'm sure Norman is correct. With many thanks to him for sharing these beautiful examples of the art of the inked line - as well as his fine commentary!

* NC Mallory on Flickr

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Horace C. Gaffron: "... just incredible"

By guest author David Roach

A few examples of good wholesome apple pie covers from the '30s and '40s for you. The artist is Horace C. Gaffron and in my opinion he’s just incredible – not too far behind Rockwell in sheer drawing ability.



So why am I showing them to you? Because it turns out he’s a Brit! I’m pretty sure he was the first British artist to move to the US as a professional illustrator ( Robert Fawcett was a Brit too of course, but I don’t think he ever actually worked in the UK ).



More than that he was a veteran of the Somme who lost his leg there but actually lived to 102.



He seems to have returned to Britain in the '50s where he drew for various children's annuals and in the '60s he worked for Look And Learn painting religious themes.

]

What I’d love to know is what else he did in America and why I’d never heard of his U.S. work before. Some websites list him as American but he’s definitely not – his nickname was Jock for heavens sake!



I wonder if anyone else has heard of him – he seems to be something of a lost Illustration giant – I mean just look at that Christmas cover!



One other thing worth mentioning is the very unusual cover layout Gaffron often used, where we have a big image and underneath it a smaller, wider angle that either comments, expands or undermines the main image. Sort of like a two panel comic strip and surely unique in cover design.



I’m really thrilled and very intrigued to hear what, if anything, this post brings out of the woodwork. I’d love it if people could send in any new scans as well if they know of other things by Gaffron. I’m genuinely curious to see what comes up.

You never know what TI's readers will come up with!

* Thanks David! Readers can leave comments or contact me (Leif) via email at leifpeng[at]gmail[dot]com and I will forward your messages to David.

* My Horace C. Gaffron Flickr set

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A Three Investigators Art Mystery

Daniel Storm writes, "I'm working on an article on the artists of The Three Investigators children's detective series for Illustration Magazine. My article is finished and will appear in issue # 32 at the first of the year, but I'm still on the hunt for any remaining pieces of art that might still be out there. Is it possible for you to make a mention in your blog so I can see if any of your readers might know where some art is? I'm particularly in need of more original Three Investigators art from Ed Vebell, Jack Hearne and Robert Adragna."



"I've pretty much been to the ends of the earth and found a ton of stuff, but I just want to make sure that this is the definitive article on the artists and I've exhausted ever possibility."

"Basically I'm looking for anyone who owns original Three Investigators art or maybe knows someone who owns Three Investigator art. I've exhausted pretty much every source online so this is more of a do you actually know someone that has any or maybe a reader has some themself. The 3 artists I mentioned in the previous emails are the ones that I only have 1-2 examples of original Three Investigators art. I could use a few more pieces from each for the article. I don't want to limit it to just those 3 artists in case someone has something that I an not aware of from someone else."



"Anyone who can point me in the direction of some Three Investigators art will get a special thanks in the article."



If you think you can help Daniel solve "the mystery of the missing Three Investigators art", drop him a line at storm02@sprynet.com

* From top to bottom today, art by Ed Vebell, Harry Kane and Jack Hearne from various volumes of what is one of my most beloved childhood book series; Alfred Hitchcock and the Three Investigators.

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Bob Peak: "... when you turn the page it's all over."

In the 1960s the Famous Artists School released an updated version of its multi-binder correspondence course featuring new chapters by then-current illustration stars; among them, Bob Peak. In his chapter (entitled "Advanced line drawing and tonal painting") Peak writes:

"The contemporary illustrator is an artist when he solves the problem of his client. The fine artist is an artist when he solves the creative problem he has set for himself. As a contemporary illustrator, my own primary objective is to satisfy the client."



Then, with a keen understanding of circumstance that could as easily be directed at today's picture makers, Peak writes the following:

"... the accelerated growth of technology causes rapid change... in this age few man-made things last. Airplanes, cars, and clothes change style rapidly. The chrome strip on a car has nothing to do with function other than the function of stimulating sales. Similarly, the woman's magazine changes format when its sales drop or its market changes. This is a phenomenon in which the contemporary illustrator is involved. Solving the problems of rapid obsolescence breeds a unique kind of artist whose premise must be: when you turn the page it's all over."



"Our function is to solve the problems of a temporary, of-the-moment product - the result being a temporary, of-the-moment product! To compete professionally as an illustrator will require all you have to offer and then some. That is what makes commercial art an exciting, vital occupation."




"For me the solving of the problem, the creative process, is more exciting than doing the finish. The finish, of course, is as important as the loudspeaker of a hi-fi rig. It must be good, but if the music that comes out of that speaker doesn't mean anything to the listener, who needs it?"



"Before I start each job these are the things I consider: (1) Have I seen it myself; what experience do I have with the subject? (2) Who is the audience? (3) What is the problem and how can I solve it? (4) What materials should I use? (5) What style is best for the job?"



These last four black & white magazine illustrations are from later in the chapter. Peak uses them as an example of his approach to contemporary illustration:

"Here are illustrations for four stories that appeared in one issue of Cosmopolitan. The problem was to give each a different look. One story, called "predators," was set in Miami. The locale, plus the flamboyant characters, led to a flamboyant interpretation. I cut out pieces of fabric and decorative papers and made a collage depicting the main couple. I didn't use models, but called on the mental image I had formed of these two people at my first reading of the story."



"In the love story "Green Wind" the big love scene began when the girl turned off the light. My reaction was: What remained visible? The Answer: Nothing but a silhouette - which I cut from black paper. On the following page of the story appeared the same silhouette but with the values reversed."



"In the illustration for "Modesty Blaise" I used drawing, silk screen, decorative papers, and photos to get the kaleidoscope look appropriate to this fast moving spy story."



"The heroine of "Subject of change," another love story, is sophisticated and fashion-wise. I showed her, below, in a high-fashion robe. For style I went where many fashion designers were going - to the Art Nouveau of the early 1900's."



I'll return to Peak's intro to his FAC chapter for a concluding thought from the artist. There Peak writes:

"If youth represents the growing force in this country, then the contemporary illustrator should reflect that condition... and take the lead. just as the speaker must know his audience before he writes his speech, the illustrator must know his public before he makes his picture."



"Modern communication has accelerated the changes in fashion. What used to last five years is good for only three nowadays. The outward appearance of art is, in itself, an aspect of fashion, so the involvement of the artist in the contemporary scene, the immediate moment, is obvious. This is what I mean when I define art as an act of doing."

* Special thanks to David Apatoff for providing the two scans at the top of today's post and to Matt Dicke for the scans from Bob Peak's chapter of the Famous Artists Course.

* My Bob Peak Flickr set.

* Bob Peak official website

* Bob Peak official blog

* the Sanguin Fine Art Gallery

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Bob Peak: "Don't be an artist 'from the wrist down'"

"In the beginning, during my first period in New York, I realized I was on the wrong track when I tried to shape my style to commercial demands. I studied the works of illustrators who had done this; they were very successful for a year or two and then dropped from the scene."



"It was apparent to me that an artist should not spend years developing a style which, in terms of demand, would quickly pass. In other words, he should not be an artist 'from the wrist down'."



"Also, he isn't wise to allow his work to be pigeon-holed so that he becomes known as a fashion or sports or editorial specialist. Creativity depends on variety."



"For me, drawing comes first. I like to draw, and I believe in being a good draughtsman."



"Though I use many media and techniques, I don't approve of using a technique for its own sake by pushing it as far as possible to see what interesting effects can be achieved. Each problem will have its own aspects. I choose the technique and medium which will be most expressive and accurate."



"Recently I've discovered I love to paint, to work with forms."



"I use a variety of media: charcoal, grease crayon on acetate, oils, dyes and designer's colors, crayons, and, for texture, salt on wet washes."



I use color for mood and expressiveness. Some of the things I do are calm, but most are not, so I prefer strong colors. Grays don't work too well for me."



"If things are bright, it is a time for brightness."

~ From an interview with Bob Peak in the September 1962 issue of American Artist magazine.

Conluded tomorrow...

* Many thanks to Heritage Auctions. The football image and parrots image are from their archives and used with permission.

* My Bob Peak Flickr set.

* Bob Peak official website

* Bob Peak official blog

* the Sanguin Fine Art Gallery

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