Norman Saunders. Ellene Politis and Norman Saunders married in 1947. Here they posed together to create reference for a 1953 Western cover painting. Norman Blaine Saunders (January 1, 1907– March 7, 1989) was a prolific commercial artist who produced paintings for pulp magazines, paperbacks, men's adventure magazines, comic books and trading cards. On occasion, he signed his work with his middle name, Blaine.[1] Biography[edit] Early life and career[edit] Saunders' career was launched when his contributions to Captain Billy's Whiz Bang resulted in a job with Fawcett Publications, where he was employed from 1928 to 1934.
He explained in 1983 the events that led to his arrival at Fawcett's offices in Robbinsdale, Minnesota: I was hitchhiking, got into this Model-T Ford with a big trunk strapped up and these two guys in front. Pulp paintings[edit] During World War II, Saunders served with the Military Police overseeing German prisoners. Trading cards[edit] Personal life[edit] Books[edit] External links[edit] Norman Saunders Men's Magazine Covers. August 1951, January 1956, March 1956, July 1956, {*style:<b><i> </i></b>*} June 1958, May 1961, December 1962, April 1963, July 1963, Index.html. Norm Saunders, Norman Saunders, Mars Attacks, Blaine, Pin-ups, Pulp Covers. Norm Saunders (1907– 1989) By David Saunders Norman Blaine Saunders was born January 1, 1907 in the northern wilderness of Minnesota. His 35 year-old father, Clare, was a war veteran and his 18 year-old mother, Elvira, was one quarter Iroquois Indian.
After graduating high school, Norm was trained in art by correspondence courses with The Federal Schools Inc. of Minneapolis. Along with his diploma in 1927, Norm also received a scholarship to the Chicago Art Institute, which he soon forfeited when offered a full-time job on the art staff at Fawcett Publications in Robbinsdale, MN. Norm worked there for six years along with future pulp artists Allen Anderson, Ralph Carlson, George Rozen, and Carl Buettner. A new biography of the artist by his son David is available through Illustration Press.
Reynold Brown Movie Poster Art. Reynold Brown. Ads for Mobil Oil and during WW2, North American Aviation. Illustrated Argosy, Popular Science, Saturday Evening Post, Boy's Life, Outdoor Life, Popular Aviation, Flying Magazine, and paperback covers (Ox-Bow Incident, Perry Mason). Took over the Tailspin Tommy comicstrip from Hal Foster and Glenn Chaffin. Movie posters for How the West Was Won, Thunder Bay, The Alamo, Cat on a Hot Tin Roof, King of Kings, Man of a Thousand Faces, Shenandoah, Mutiny on the Bounty, Ben Hur, Spartacus. Also posters for classic sci-fi and horror: The Time Machine, Creature from the Black Lagoon, The Incredible Shrinking Man, This Island Earth, and not-so-classic: Monster on Campus, I Was a Teenage Werewolf, Attack of the 50' Woman, The Land Unknown, Burn Witch Burn. In the case of drive-in flicks like Atomic Submarine, his quality poster art put the movie to shame. Reynold Brown. During World War II he worked as a technical artist at North American Aviation.
There he met his wife, fellow artist Mary Louise Tejeda. Brown taught at the Art Center College of Design where he met Misha Kallis, then an art director at Universal Pictures.[6] Through Kallis, Brown began his film poster work starting with The World in His Arms (1952), then did the art work for dozens of film posters, including:[7] Brown's poster for Attack of the 50 Foot Woman (1958); part of this image was selected as the cover art for a recent book about Brown's art and life.[8] Brown's original painting for the poster of The Alamo hung for many years at the actual Alamo in San Antonio, Texas.
[citation needed] He suffered a severe stroke in 1976 that left his left side paralyzed and ended his commercial work.[9] Brown and his family moved to Dawes County, Nebraska; with his wife's help, Brown continued to paint landscapes until his death in 1991. References[edit] Further reading[edit] MetroActive Arts | Illustrator James Avati. Michael Amsler Classic Art: Petaluma illustrator James Avati's work has graced the covers of paperbacks by America's finest authors. Illustrator James Avati paints into the future By David Templeton INCREASING MACULAR degeneration.
James Avati speaks the phrase carefully, pronouncing the name of his recent diagnosis--"Increasing. Macular. Degeneration"--as if each word were a separate and undeniable fact, just as his deteriorating eyesight--the macula is the part of the eye that distinguishes fine detail at the center of our field of vision--is undeniably a fact. James Avati, known as "the King of the Paperbacks" for his pioneering cover illustrations in the '40s and '50s, and internationally lauded as one of America's greatest artistic treasures, is too philosophical--and still too full of plans--to waste time feeling sorry for himself.
"I can't see well anymore," he shrugs, filing through a stack of vivid illustrations he's brought out from his studio. Whatever he did, it worked. James Avati. James Sante Avati (December 14, 1912, Bloomfield, New Jersey – February 27, 2005, Petaluma, California) was an American illustrator and paperback cover artist. His father was a professional photographer in New York City. His mother died shortly after his birth. He was raised by his maternal aunt and eventually his father married her. While Jim was still young, his father died and another aunt and uncle helped to raise him in Little Silver, New Jersey, where he grew up. His uncle paid for his education at Princeton University where he obtained a degree in architecture in 1935.[1] He was always interested in painting and loved to paint. He quickly became legendary[peacock term] and was highly sought after. He used professional models at first but soon used friends, family and people off the streets of Red Bank, New Jersey, his home for much of his life, as models.
He has been called the "Father of Paperback Book Covers" and the "Rembrandt of Paperback Book Covers". Personal[edit]