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History of Illustration
Although many of the magazines appeared to be healthy at the beginning of this decade, by the mid-sixties the traditional family magazine bases for illustration had shriveled as one after another magazine such as Liberty, Collier’s and Saturday Evening Post died. A few magazines such as Sports Illustrated survived. Artists were free to interpret the events in a personal, behind-the-scenes way without direct editorial supervision.
A native of N.Y. where he attended the High School of Music and Art, and Cooper Union Art School. Following graduation, he received a Fulbright scholarship which allowed him to study etching in Italy. In 1954 Glaser was a founder, and president, of the Push Pin Studios. He has designed/illustrated book jackets, record album covers, advertisements and direct mail pieces, as well as magazine illustrations.
He was educated at the American Academy and the Art Institute of Chicago. His early illustrations, which were distinguished by expert draftsmanship, appeared in a wide variety of magazines. Otnes evolved a new approach to picture-making, incorporating collage, assemblage and printing techniques with his images.
He spends much of his time on research on pictorial subjects for a great layout or composition. He does not make preliminary drawings, but having worked out the problems in his mind, makes his finished renderings while there is still a creative challenge to be met, rather than to redo an approved sketch. He spends much more of his time in research and planning than in the rendering itself. He has illustrated for most of the major publications and many national advertisers including pharmaceutical, and his work has won numerous awards.
The 1970s was a period in which the magazine audiences fragmented, or dried up, the great art directors retired, and the profession became largely anonymous. In this time illustrators had to find new clients, breaking away from their traditional bases of periodicals.
The Space Program had attracted many artists. These talents were also employed in the production of movies such as Star Wars and 2001.
Underground comics exerted an unexpected influence on posters and animation.
Pages in the newspapers, like The New York Times encouraged creative interpretations for editorials, and artists made it a highly visible niche themselves.
The specialty magazines, which were replacing the old national publications, continued to get bigger until the total magazine market became even larger than before. The main difference was the now much lower visibility to the artists.
Courtroom sketching had become big. Networks often featured artists that captured the drama on paper.
The illustration field rarely looks backward, but the 1970s was a time of rediscovery of roots, in many ways. Artists were raiding the libraries and borrowing styles from their Golden Age heroes.
He was described as a “rainbow snipper.” He used all the colors of the rainbow in felt or paper. Behind each piece of felt or paper is a glued piece of stiff paper, which helps mold the shape and durability.
He was named “Artist of the Year” in 1965 by the Artists Guild. He worked for all the major magazines, many advertising accounts, and illustrated more than 25 children’s books.
He has evolved in his work through several stages and painting styles, but each has been distinguished by his use of subtle changes in color and value. He worked on major automobile accounts and contributed to many other publications. English has made the transition to painting for exhibition.
Started working when he was in high school submitting comics, went to work for Hallmark cards, and regularly to Playboy magazine and many other magazines. He has won many awards from the Society of Illustrators.
He crammed a very successful career into his brief 38 years. He got his big break through an early assignment for Playboy magazine which led to more important role with the magazine. His assignment was a remarkably open one: to paint anything and as much as he wanted each month. His “Nagel Girls” quickly became a reader’s favorite. He also branched off into many other clients, including Universal Studios, M-G-M, IBM, cover of Duran Duran’s album Rio, and many magazines. He died from a sudden heart attack.
He has a good solid base of the traditional picture making, along with a very contemporary outlook. He has worked for many magazines and has his work in a lot of museums.
For more than 40 years, the books that he has written and illustrated have nurtured adults and children alike. He has always tried to make kids see things in a different way. His most known book is Where the Wild things Are. Since 1980 he has designed the sets and costumes for highly regarded productions.
He has evolved considerably during his career, becoming increasingly linear and disciplined in drawing with more emphasis on texture and pattern. His work has appeared in many magazines, annual reports and advertisements.
With many restless, younger illustrators appearing on the scene, a segment of illustration began to take on a new look. These “New Illustrators” deliberately turned their backs on the accepted norms of drawing and painting, following the lead of punk rock. Many illustration jobs were repetitive, of uninteresting subjects, drawn small because of tight deadlines, and required rendering photographs. Many found their first acceptance through appearances on record album covers, posters, T-shirts, coffee mugs, shopping bags, and other non-traditional venues. “Ugly” was in, realism was bad, color was hyped with day-glo and magic markers. Distortion became an effective parody of reality.
The beginnings of computer-produced art were also edging into print. Experimentation made converts of many of those willing to try it; to younger artists it became a natural extension of the eye and hand.
He is a strong force in the illustration field both as a performer and a teacher. He also exhibits in New York galleries. He has one-shows in Japan, Korea, and in China. He illustrates for a lot of magazines.
He is a natural storyteller. Born in Switzerland, he is self-taught and allows the story to set the style. He can present both fanciful and serious topics, ranging from AIDS and terminal illness to animated cartoons. He has over 80 illustrated children’s books to his credit.
He is a Midwesterner, born in Algona, Iowa. He has won 23 medals. Illustrates for a lot of magazines, posters, and advertisements.
He works in a photo-realistic mode that is very appropriate for cover illustration and for advertising clients. To this clarity, however, he often brings an element of unreality, rendered with the same degree of believable conviction. He has illustrated for many magazines and advertising accounts.
T.V. had stolen the fiction magazines’. As magazines fragmented and multiplied, illustration’s role became more incidental and decorative.
The advent of the computer is rocking the field more radically, and illustrators have been facing the shift in multiple ways. The image-processing ability of computers has turned photography into a nearly plastic medium.
Many illustrators in the ‘90s produce professional pictures without traditional art training. Indeed, many can not draw. Even though there is many techniques (more than before) at hand, untrained illustrators jump right into the computer, and images end up looking very much the same and technique is recycled over and over again (that being computer).
Stock House’s and Copyright laws have been a dramatic change for all artist’s. On top of all the changes, artist’s original work may soon have no significance. When an image is produced digitally, manipulated on screen, and e-mailed to the publisher, with no physical value as a work of art. Does this mean that traditionally drawn or painted pictures will become obsolete? Probably not; as a “hand-produced” art becomes less the norm it may become more valued.
He is a committed realist. He has worked on a postage stamp in 1996, has been commissioned for book covers and magazines.
A very contemporary illustrator for magazines and films such as: The Hunchback of Notre Dame, A Bug’s Life, and Prince of Egypt. Recent projects have included poster designs.
Works as an international illustrator. She has illustrated for over 50 book covers, many magazines, and teaches many workshops. She was featured in an issue of Step-by-Step magazine.
First came to illustration as a painter. He is the art director of Omni magazine. All of his images have a double take of what it could be.
A caricature artist that reduces the characters of detail to the subject’s most telling features. He exaggerates their features and makes them grand. His specialty is show business celebrities. He has illustrated for most of the big magazines.
He does not fit into the usual categories as an artist. A child of the ‘60s, he was part of the youth rebellion, the drug culture, and a college dropout. He was also the son of concentration camp parents whose experiences he would draw upon. As a child, he was obsessed with the cartoon strip as an art form, and he has been pushed in many creative directions. He has worked for many of the cutting edge magazines.
He takes the illustrator’s art back a century by enlisting the wood engraver’s craft to the scratchboard medium. He give it a thoroughly contemporary flavor. He’s done work for Barnes & Noble bookstores through his portraits of literary figures. He’s done illustrations for many magazines and has received many awards.
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