Blue Collar

It’s been a while since I posted anything, not to mention the last time I posted some artwork.  So, I thought I would show the most recent hybrid piece.  Everyone remembers what I mean when I say hybrid, right?  The artwork was created traditionally in the mid 1990’s, but updated recently using Photoshop.  “Blue Collar” is a piece that was conceptualized for the December 1993 photography session with the model.  When I say it was conceptualized for the photography session, I meant I actually put thought into the poses, clothing and props I wanted the model to wear and use.  While he supplied the baseball cap and shirt, I supplied the chain.  I really wanted to use chain in some of the poses.  To me it’s a very industrial and masculine element and I thought it would be a great prop to use.  The fact that it additionally symbolizes bondage didn’t hurt either. 

The photos that inspired this illustration are probably my favorites from the session.  As part of my contract with the model, I cannot publish any of his photos.  Sorry, that was part of our agreement.  But trust me, when he put on that baseball cap and barely-there shirt, he was adorable beyond description.  He was very handsome, possessing (what I like to call), all American good looks.  I guess the best way to describe that look is the male models from Abercrombie and Fitch.  There is a boyish charm to them, but there is also a sense of collegiate sophistication.  They are not only text-book handsome but they also look intelligent, collegiate and prep-school-like.  I really lucked out when he posed for me.  He got a few hundred bucks for a few hours work and I got some amazing photos to inspire my creativity. 

He was in his mid thirties when these photos were taken and he still looks just as good today.  Almost 20 years have passed since December of 1993, but I checked out his facebook page, and he is still just as handsome.  Time has been very kind to him.    

As I mentioned, this is another hybrid piece.  The black line work was painted with a fine sable hair brush and India ink.  I would paint the ink onto hot press bristol paper or illustration board.  The design would be drawn and painted double the size of the final presentation (in my portfolio).  If the finished work was shown in my portfolio at 8.5” x 11”, I would paint the original at 17” x 22”.  It was easier for me to paint larger than actual size.  I also loved how “tight” the finished work looked when it was reduced.  The imperfections were less noticeable and the line work became thinner and more delicate.  I would then take the original black and white painting to a graphics photographer where he would use a stat camera to photograph the art at half scale onto a sheet of clear acetate.  I would head back to my studio and mix the colors needed to finish the piece.  Once the paints were mixed, I would lay a sheet of semi-transparent waxed rice paper (artist’s paper called waxed masa) on top of the black and clear acetate and carefully paint in-between-the-lines to add the color.  The type of paint I used was gouache.  When finished carefully painting between the black lines onto the waxed paper, I would then switch the positions of the paper and acetate, placing the acetate on top of the painted waxed paper.  After lining up the black line work with the under lying painting, I would then securely tape the sides of the two together creating the finished piece.  The hybrid part comes in with Photoshop.  How I use Photoshop varies from one work to another.  But at the very least, Photoshop is used to smooth out the paint, making the colors flat and even.  During this process, I usually re-color the piece, changing the colors some.  I may also go in and rework some of the black line work.  On “Blue Collar” I reworked his facial structure as well as giving his ear more detail.  I added the tattoos on his arm as well as the facial and body hair.  I also reworked his nipples from the original artwork. 

There were a lot of steps to this traditional process, but I truly loved the end results.  I very much enjoyed painting the precise, even line work.  I know this might sound odd, but it was somehow relaxing.  I’m sure it would drive other artists insane to paint such precise and even line work, but I’m part German and very much an Aries, so that might be part of the answer.  Every artist has their own techniques used to create their distinctive style.  This is what makes art so interesting and different.  It would be very boring if all artists produced the same style of work.  

Vested

“Vested” is also a hybrid design.  All the black line work was completed in the mid 1990’s using India ink and a fine triple zero Sable hair paint brush.  The black and white artwork was scanned and the color was added recently using Adobe Photoshop.  Not all the artwork generated from that session with the model was taken past the black line work stage.  As I said, “Vested” was black and white until recently, but I always knew I wanted the vest to resemble the American flag with rainbow stripes.  I actually like the creativity behind the modification of the American flag into becoming the gay American flag.  It’s creative and I guess this is my homage to the person who originally came up with that idea. 

The next several artwork posts will be the results of my photographs from the session with the model.  All the photos came out great; however, all the poses were not that good.  The model did a great job and so did the camera.  And at the time of the photo session, the poses seemed “cool” and “very interesting”.  Well, they were a little too interesting; as I felt I could only use a handful of the photos. 

The Sweat Shop

It’s baffling how challenging it was finding a model back in the early 1990’s.  I was living in North Jersey, working in Manhattan and it was still difficult.  You might think gay men would jump at the opportunity to take their clothes off, be paid for it and do nothing more than be photographed, right?!  Not the case.  I took advertisements out in all the Manhattan gay weekly publications and had flyers hung at the gayborhood gyms, which turned out very disappointing results.  Where were all the good looking men who would lose their clothes in a New York minute??

After receiving one disappointing submission after another, I was literally wiped out, frustrated and ready to throw in the towel.  Some submissions had amazing bodies, but not such great faces.  Some guys had handsome faces, but the body wasn’t what I was looking for.  I could not find the total package.  I could not find my Pete Kuzak.  One afternoon, I was in a bar in the West Village when the bartender’s boyfriend showed up to bring him dinner or something.  The boyfriend was stunning.  He had an adorable face.  He was also handsome and rugged.  The bartender introduced us, we said hello and after dropping off whatever it was he was there to drop off, the boyfriend left.  Since I knew the bartender (my then partner was the weekend manager of the bar) I asked him if he thought his boyfriend might model for me.  He said, “I don’t know, but I’ll ask him.”  As it turned out, the bartender’s boyfriend did model for me and in the next few posts, you will see what I created based on that photo session.  A contract was signed and the photos were taken in early December 1993.  It was a legitimate business transaction where the model was paid for taking (most of) his clothes off and then photographed.  I was very happy.  I had found my total package.

This post, “The Sweat Shop”, was originally painted back in 1994.  However, what you see here is a bit of a hybrid.  The black line work was painted in 1994, but the color was applied recently using Photoshop.  The coloring was kept the same for nostalgic reasons and also to keep the original copyright in place.

International Male

Simply titled “Man #2” back in 1991 for the United States Copyright Office’s Visual Arts Form, I decided to call this painting “International Male” for the blog.  Since the inspiration for this artwork came directly from the pages of the International Male clothing catalog, it seemed fitting to somehow acknowledge the original reference.   

With many of my creations in these first posts, there are aspects of the paintings that I like and aspects that I don’t like.  When coming to terms with a creative style, there is always a period of time when the artist must “work out the bugs”.  It’s an experimental time.  It’s a time for trial and error.  In the late 1980’s and early 1990’s, my main concentration was to solidify my creative style.  Being raised watching cartoons from the 1960’s & 1970’s and aspiring to be a comic book illustrator, I was heavily influenced by flat color that was defined by solid black line work.  Coloring books, animation, comic books, they all had one thing in common: the flat graphic color was defined by the black line work that surrounded it.    

With the exception of “Princess” I have relied on published photos for my inspiration.  “Princess” was inspired by a co-worker at the time that was both statuesque and beautiful.  I simply had to paint her.  “Tex”, “Nagel Boy” and “International Male” were all inspired by published photos of some kind.  But I was quickly getting to the point where I wanted to own the inspiration as well.  I wanted to be able to select and mold my inspiration and not be limited to what was already out there. 

The definition for the word muse is a source of one’s inspiration.  In Greek Mythology, the Muses were the goddesses who inspired the creation of literature and the arts.  I needed a muse.  I needed someone who was so idyllic, his beauty would inspire me to produce greater work.  I needed a model.          

Deforestation 1991

As I mentioned in my previous post, “Deforestation” was originally painted in 1991 using India ink for the line work and the background texture and gouache for the color areas.  I digitally scanned the original art and what you see in this post is essentially that art as it was painted twenty years ago.  That being said, I did use Photoshop to brighten the colors some, add my signature and copyright, but other than those very minor changes, the original art remains unaffected. 

Deforestation

Originally painted in 1991, what you’re seeing now is a bit of a hybrid.  The black line work and background texture was painted twenty years ago, using India ink and brushes.  And although it was colored similarly back then, the color you see in this version has been applied using Photoshop.  The original colors were painted in gouache. 

This “Nagelesque” style is firmly taking hold, as seen in “Princess”, “Tex” and “Nagel Boy”.  My artwork has always been stylized and graphic.  But after seeing Patrick Nagel’s work, my commitment to this style, which I have often referred to as “high tech coloring book”, is unwavering. 

I have been presenting my work somewhat chronologically, indicating something of a progression.  Hopefully, this progression shows some level of improvement.