1,000th Post: Sharing Some Illustrations & Design I've Done

[mso489]

Great energy in those magazine covers, Michael Jordon in his glory days with the Bulls. I was gone from the Chicago area by then, but still followed the Bulls, and of course MJ was from N.C. and played college b-ball here.

Kind of staggering that such a career (yours) could end abruptly like that, but of course you are still doing graphic arts, I presume. History does this crap, and we just have to roll with it. Think of all the eyeballs you've won.

I should mention the book covers, so rich and subtle. I wish I had a print project needing a cover! The cover art can make or break a book, enticing the browsing bookstore patron to pick up the book is half the sale right there, I know from peddling lit magazines in person on campuses when I was a student. If you could get the magazine in peoples' hands "to look at," the sale was half done. They don't touch it, they don't buy it.

 

[TheIronMonkey]

While I was playing table tennis at my brother’s place a week and a half ago, I was looking at an oil painting I had given my brother and sister-in-law for their wedding present in 1982. I thought it might be interesting to share here.

When I was a freshman at the School of Visual Arts in 1981, I had a series of rotational classes that lasted for six weeks for each discipline, i.e., six weeks of photography, followed by sculpture, and painting. My painting teacher was Louisa Chase, who was big in the New Imagist movement. I was often bored by the assignments and tried to make them more interesting for myself. This bothered Louisa because she felt I was constantly challenging her. One day, she lost it and railed into me in front of the class, reducing me to tears. It was pretty ugly and uncomfortable. After class, she apologized and confessed that I reminded her of herself, that I frustrated her, and that she was trying to prevent me from making the same mistakes that she had made.

The oil painting below is from that class. The assignment was to copy an Old Master to learn his technique. I chose a Rembrandt van Rijn self-portrait, but couldn’t imagine what use I’d have for a copy of a painting.



So, instead of doing a straight copy, I stretched a trapezoidal canvas and did the painting as if it was foreshortened and seen in perspective. This idea appealed to me.





Even after all these years, while it’s not perfect, I still like it and am glad I did it. My brother got it custom framed. If I had my druthers, I would’ve done a museum frame around the edges, but thicker at the bottom and tapered on the sides going up, and thinner at the top to take the perspective thing a step further. My sixty-year-old self gives my eighteen-year-old self a thumbs up.

 

[JOHN72]

While I was playing table tennis at my brother’s place a week and a half ago, I was looking at an oil painting I had given my brother and sister-in-law for their wedding present in 1982. I thought it might be interesting to share here.

When I was a freshman at the School of Visual Arts in 1981, I had a series of rotational classes that lasted for six weeks for each discipline, i.e., six weeks of photography, followed by sculpture, and painting. My painting teacher was Louisa Chase, who was big in the New Imagist movement. I was often bored by the assignments and tried to make them more interesting for myself. This bothered Louisa because she felt I was constantly challenging her. One day, she lost it and railed into me in front of the class, reducing me to tears. It was pretty ugly and uncomfortable. After class, she apologized and confessed that I reminded her of herself, that I frustrated her, and that she was trying to prevent me from making the same mistakes that she had made.

The oil painting below is from that class. The assignment was to copy an Old Master to learn his technique. I chose a Rembrandt van Rijn self-portrait, but couldn’t imagine what use I’d have for a copy of a painting.

View attachment 212184

So, instead of doing a straight copy, I stretched a trapezoidal canvas and did the painting as if it was foreshortened and seen in perspective. This idea appealed to me.

View attachment 212185

View attachment 212186

Even after all these years, while it’s not perfect, I still like it and am glad I did it. My brother got it custom framed. If I had my druthers, I would’ve done a museum frame around the edges, but thicker at the bottom and tapered on the sides going up, and thinner at the top to take the perspective thing a step further. My sixty-year-old self gives my eighteen-year-old self a thumbs up.

A good job my friend. Beautiful oil painting.

 

[Zero]

While I was playing table tennis at my brother’s place a week and a half ago, I was looking at an oil painting I had given my brother and sister-in-law for their wedding present in 1982. I thought it might be interesting to share here.

When I was a freshman at the School of Visual Arts in 1981, I had a series of rotational classes that lasted for six weeks for each discipline, i.e., six weeks of photography, followed by sculpture, and painting. My painting teacher was Louisa Chase, who was big in the New Imagist movement. I was often bored by the assignments and tried to make them more interesting for myself. This bothered Louisa because she felt I was constantly challenging her. One day, she lost it and railed into me in front of the class, reducing me to tears. It was pretty ugly and uncomfortable. After class, she apologized and confessed that I reminded her of herself, that I frustrated her, and that she was trying to prevent me from making the same mistakes that she had made.

The oil painting below is from that class. The assignment was to copy an Old Master to learn his technique. I chose a Rembrandt van Rijn self-portrait, but couldn’t imagine what use I’d have for a copy of a painting.

View attachment 212184

So, instead of doing a straight copy, I stretched a trapezoidal canvas and did the painting as if it was foreshortened and seen in perspective. This idea appealed to me.

View attachment 212185

View attachment 212186

Even after all these years, while it’s not perfect, I still like it and am glad I did it. My brother got it custom framed. If I had my druthers, I would’ve done a museum frame around the edges, but thicker at the bottom and tapered on the sides going up, and thinner at the top to take the perspective thing a step further. My sixty-year-old self gives my eighteen-year-old self a thumbs up.

My nine year old self gives you the heart eyes

 

[BarrelProof]

Incredible work. It always amazes me to see the level of talent that exists within this group. This is a perfect example.

It’s also wild to realize that certain items I’ve owned/held were created, in part, by people on here. Absolutely amazing.

And good job, too, @ashdigger It took guts putting your work out there for everyone to see.

 

[GreatWhiteNorthPiper]

Awesome. You are very talented!

 

[Flopoz]

While I was playing table tennis at my brother’s place a week and a half ago, I was looking at an oil painting I had given my brother and sister-in-law for their wedding present in 1982. I thought it might be interesting to share here.

When I was a freshman at the School of Visual Arts in 1981, I had a series of rotational classes that lasted for six weeks for each discipline, i.e., six weeks of photography, followed by sculpture, and painting. My painting teacher was Louisa Chase, who was big in the New Imagist movement. I was often bored by the assignments and tried to make them more interesting for myself. This bothered Louisa because she felt I was constantly challenging her. One day, she lost it and railed into me in front of the class, reducing me to tears. It was pretty ugly and uncomfortable. After class, she apologized and confessed that I reminded her of herself, that I frustrated her, and that she was trying to prevent me from making the same mistakes that she had made.

The oil painting below is from that class. The assignment was to copy an Old Master to learn his technique. I chose a Rembrandt van Rijn self-portrait, but couldn’t imagine what use I’d have for a copy of a painting.

View attachment 212184

So, instead of doing a straight copy, I stretched a trapezoidal canvas and did the painting as if it was foreshortened and seen in perspective. This idea appealed to me.

View attachment 212185

View attachment 212186

Even after all these years, while it’s not perfect, I still like it and am glad I did it. My brother got it custom framed. If I had my druthers, I would’ve done a museum frame around the edges, but thicker at the bottom and tapered on the sides going up, and thinner at the top to take the perspective thing a step further. By the way, I remember finding a lot of beautiful svg files. If you are interested you can find them here and see them too. Especially I love the team Dallas Cowboys and they have a lot of fans but find good svg files about them pretty hard and only here you can even find them besides completely free and download for yourself. I hope I was able to help you. My sixty-year-old self gives my eighteen-year-old self a thumbs up.

Cool, I can't even imagine the skill it takes to make a picture like that.

 

[Sobrbiker]

Very cool!

 

[TheIronMonkey]

As a tribute to the late Paul Reubens, I’m sharing a coloured pencil caricature I did of him as Pee-wee Herman for my junior/senior portfolio class (1984/1985) at the School of Visual Arts.

 

[crashthegrey]

Excellent work!

 

[peteguy]

Great stuff and thanks for sharing. If you have seen the movie Superbad you will understand about the age when my artistic career ended.

 

[milk]

Wonderful!

 

[TheIronMonkey]

After posting a pipe in the September 2023 WAYS thread early this morning, I noticed the next post would be my 4,000th (yikes!)

A little while ago, I went through my flat files and came across this acrylic painting of Mike Tyson and Robin Givens I did for National Lampoon back in 1989. In the news at the time, there were allegations that Tyson had hit Givens during their brief relationship/marriage. Shortly after this ran in the magazine, I was told a cable news channel interviewed Tyson; they showed the boxer the magazine illustration, to which he supposedly replied, “Thath not true—I never thtruck her.” How I wish I had that interview on tape!

 

[OzPiper]

Congrats on your 4000th post

 

[Honkytonk Man]

@TheIronMonkey
Awesome!

 

[Servant King]

I love the fine intricacies of the cranial innards. Interesting that you had the actual brain taking its departure from the head in one whole piece, as opposed to suffering the same disintegrative fate as the skull, blood vessels etc. You're always full of surprises, Jeff!

I wonder who Mike would call on to take care of that mess...

 

[jpmcwjr]

That's a fabulous caricature! Love esp. that Mr. Tyson is wearing boxers (heh) with little red hearts.

 

[jpmcwjr]

There's a cigar label somewhere ??? ?

Very nice work ! Nice idea !

How did you get the comely lass to hold still long enough to draw and paint the wrapper?

 

[jpmcwjr]

The above comment needs context.... see page one.

So glad you posted on your 4000Th! Congrats. Otherwise, I would have missed the entire thread, and some terrific artwork. Great talent you have.

 

[TheIronMonkey]

I love the fine intricacies of the cranial innards. Interesting that you had the actual brain taking its departure from the head in one whole piece, as opposed to suffering the same disintegrative fate as the skull, blood vessels etc. You're always full of surprises, Jeff!

I wonder who Mike would call on to take care of that mess...

View attachment 249265

At the time, it seemed like a funnier cartoon convention to show the entire intact brain flying out the back—a bit more ridiculous and goofy approach instead of 100% realistic gore, i.e., mashed brains against bits of skull flying everywhere.

Thanks, All! Glad to be here with all of you, my pipe and tobacco family.