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ERNA FRUHOLZ (California, 20th century)
I was not able to learn anything useful about Erna Fruholz, which is disappointing because she was such a gifted draftswoman.
If I had a deep enough pocket and a vacant lot in the right place, I'd find an architect who'd design an exciting floor plan to go with the window pattern in this drawing and get ready to break ground.
The CREST CAVITY CREEPS
HERB TRIMPE - Animator/DESIGNER
Item Type: Rare PRODUCTION MODEL SHEETS by ANIMATOR / DESIGNER HERB TRIMPE for the 1970s TELEVISION Commercial "THE CAVITY CREEPS"
THE COMMERCIAL FOR THESE SPOTS CAN BE VIEWED ON YOU TUBE.....
Size: 16.5 x 14.5 (approx)
Condition:GOOD
Type: PRODUCTION MODEL SHEETS - Used by Animators....Large 16 Field Xerox Stats, with CUT OUTS and some HAND DRAWN REPLACEMENT Mouths/Features on CHARACTERS
Circa 1976
NOTES:
If you were a kid in the late 70s/early 80s you most likely remember these very cool animated Crest toothpaste commercials. There was a series of them, each telling a short story in which the evil alien-like Cavity Creeps would attempt to break into the enamel-walled island city of Toothopolis, defended by the heroic Crest Team. Each time the Creeps would come up with some new scheme to drill or blast their way through the walls, only to be thwarted by some sort of fluoride lazers or cannons. In my favorite installment the Crest Team actually had a submarine in the shape of a tube of Crest that fired fluoride missiles at the Creeps. The art design for the commercials was done by Herb Trimpe, who soon after would work on the GI Joe comic book
Herbert W. "Herb" Trimpe (b. May 26, 1939, Peekskill, New York[3]) is an American comic book artist and occasional writer, best known for his work on The Incredible Hulk and as the first artist to draw for publication the character Wolverine, who later became a breakout star of The X-Men
Herb Trimpe was raised in Peekskill, New York,[ where he graduated from Lakeland High School. He graduated with a BA in Arts from Empire State College, Hudson Valley Center. Trimpe commuted to New York City for three years to attend School of Visual Arts. There, Trimpe recalled in 2002, instructor and longtime comics artist Tom Gill needed a student "to ink his backgrounds and stuff. So that's how I started, at Dell [Comics], doing mostly Westerns and also licensed books, like the adaptation of the movie JOURNEY TO THE CENTER OF THE EARTH
Trimpe then enlisted in the United States Air Force, where he served for four years, including a year in Vietnam. Upon his discharge in October 1966, he learned that fellow SVA classmate John Verpoorten was working at Marvel Comics' production department, and
. . . said they were hiring freelance people, and I should come up to the office and show my work to Sol Brodsky, who was Stan [Lee]'s right-hand man at the time. . . . I was just preparing to put some material together and go to DC and Charlton when I got a call from Sol Brodsky, who was production chief. He said they needed somebody on staff in the production department to run the new photostat machine they had just bought, and to do some production work. I would primarily run the 'stat' machine and wouldn't be seated at a desk, but I would be able to pick up some freelance pencilling and inking. This kind of opened the door. The staff job didn't pay much by today's standards; I think it started at $135 dollars a week which wasn't as low as it sounds. Remember, it was 1966 and that was a fairly good entry-level salary.
He joined Marvel's production staff in 1967 and remained associated with the company as a contract artist through 1996. While operating the Photostat camera in the Marvel offices, Trimpe did freelance inking for Marvel, and made his professional penciling debut with two Kid Colt Western stories, in Kid Colt, Outlaw #134–135 (May & July 1967). Shortly thereafter, Trimpe and writer Gary Friedrich created Marvel's World War I aviator hero the Phantom Eagle in MARVEL SUPER HEROES #16 (Sept. 1968).
In the 1960s, during the period known as the Silver Age of Comics, Trimpe was assigned to pencil what became his signature character, the Hulk. Beginning with pencil-finishes over Marie Severin layouts in The Incredible Hulk #106 (August 1968), he went on to draw the character for a virtually unbroken run of over seven years, through issue #142 (August 1971), then again from #145–193 (Nov. 1971 – Nov. 1975). Additionally, Trimpe penciled the covers of five Hulk annuals (1969, 1971–72, 1976–77, titled King-Size Special! The Incredible Hulk except for #4, The Incredible Hulk Special), and both penciled and inked the 39-page feature story of The Incredible Hulk Annual #12 (Aug. 1983).
Trimpe also had a year's run on THE DEFENDERS (#69–81, March 1979–March 1980), a superhero-team comic featuring the Hulk. He also drew the cover, featuring the Hulk, of the 1971 issue of Rolling Stone containing a major profile of Marvel Comics.
The artist in 2002 recalled a less-than-smooth start to his Hulk tenure: "I did, like, three or four pages, and Stan [Lee] saw them and made Frank Giacoia do the layouts [for Trimpe's fourth issue, #109, Nov. 1968]. It wasn't my storytelling, there was a good flow there, but it was too [much like] EC [Comics] for Stan. I loved EC, the dark atmosphere and clean lines of it. . . . But it wasn't right for Marvel
coloured pencil on watercolour paper.
an early drawing of mine - from a tuition book.
This drawing is © Karen White. Please do not reproduce in any form without my permission.
This drawing was used as part of the background for a puppet theatre.
Applied drawing
by Brown, Harold Haven, 1869-1932
Published 1916
Topics Drawing, Decoration and ornament
Mother Teresa
I mostly used black gel pens/ ink pens and pencils (HB) on office/printer paper A4 sheets - cheap but effective :P
I won't be able to do origami for a while now, so I thought I'd post these drawings here...The shittier the drawing, the younger I was XD.
Hope you all like it.
Work in progress!
Pencil drawing on Bristol board
Total work = 5hours
Drawing done from a beautiful photo of a tiger cub by DigitalART2
Applied drawing
by Brown, Harold Haven, 1869-1932
Published 1916
Topics Drawing, Decoration and ornament
HANNA BARBERA STUDIOS
ABBOTT and COSTELLO
Original Animation TELEVISION SERIES 1967
Type: AWESOME Original Production Animation MODEL Drawing
from the 1967 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring UNCLE WOLFGANG
Date 1967
NOTES:
The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.
The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)
William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)
The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.
In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.
Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.
In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.
In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.
Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances
#drawing #handdrawing #handdrawn #trees #forest #sketch #sketchbook #moleskine #pencildrawing #pencilart
What do fifty equal-sized drawings look like in a grid? Like this.
Check out my NaNoDrawMo 2010 set for the original scans.
When taking snapshots for clients I don't use shadows because I like to draw them, so I make one exposure layer, mask it and put all shading on the mask. This is work in progress, only that one shading layer :)
Tittel / Title: Grund-Riss over Blakier
Beskrivelse / Description: Håndtegnet kart over Blaker skanse i Akershus
Dato / Date: 1752
Kartograf / Cartographer: Eckleff
Digital kopi av original / Digital copy of original: no-nb_krt_00488
Eier / Owner Institution: Nasjonalbiblioteket / National Library of Norway
Lenke / Link: www.nb.no
Bildesignatur / Image Number: Kart 1042