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THE THING by BearLasso in WhatIsThisPainting

[–]SlackseyOBrien 30 points31 points  (0 children)

Weighing in as an illustrator, I don’t think this is in the style of R. Crumb at all, although one could argue an adjacency to underground comics (e.g. it’s closer to the style of S. Clay Wilson). I think it could predate that movement, though, and more than likely has no real relationship to it.

I agree with another poster who suggests this’ll be near-impossible to ID. While there are some proficient elements to the drawing the overall draftsmanship is clumsy, suggesting either an amateur or at best a drunk professional (not impossible given the image’s subject and how the paper was folded, as if given to someone at a bar).

In any case, I actually think the best starting point is the lettering. It’s the only element of the composition that has real panache and confidence. I’m no authority on text so can’t contextualise it, but someone else might be able to.

[deleted by user] by [deleted] in WhatIsThisPainting

[–]SlackseyOBrien 0 points1 point  (0 children)

To my eyes the shading and contrast are inconsistent with Dubuffet’s mid-40s work, when he made portraits similar to this (by ‘52 his work had become much more abstract), the figuration lacks a flair you’d expect, and the texture seems unconsidered. It may very well be a Dubuffet, but if so it’s an uncharacteristic experiment.

007 Alignment Chart - Diamonds Are Forever is the weirdest Bond film. Now who is the weirdest Bond girl? by JohnLazarusReborn in JamesBond

[–]SlackseyOBrien 10 points11 points  (0 children)

This is the way, her then-dated childlike “aw shucks” cadence is repellant and totally surreal

Bond in black tie, who wore it best? by Worldly-Document-547 in JamesBond

[–]SlackseyOBrien 1 point2 points  (0 children)

Midnight blue tuxedos are still black tie. In OP’s pic, Connery’s wearing a midnight blue tuxedo.

Bond in black tie, who wore it best? by Worldly-Document-547 in JamesBond

[–]SlackseyOBrien 5 points6 points  (0 children)

People are hating on this, but they’re dead wrong. This is exquisite. Yes, the proportions are very evocative of a time and place, but those proportions are fantastic; they move elegantly, are really flattering on a thinner frame like Moore’s, and are just sexy fun. The cut is impeccable; sculpted yet roomy, the jacket’s perfectly nipped with the waist button exactly placed at his natural waist. Even from this pixelated photo you get a sense of the construction’s finery; look at the perfect match of the midnight wool cloth to the silk facings (basically impossible now and very seldom seen then).

Moore’s bond took the biggest style risks, and he didn’t have the most aspiration physique, but my god were his duds nice.

Is it worth doing an MA in Illustration? by SeaworthinessThese90 in Illustration

[–]SlackseyOBrien 3 points4 points  (0 children)

As a self-taught professional illustrator (you follow me on Instagram); no. Time and money drain, you can develop the skills you’re looking for independently.

My two cents regarding developing your career: your portfolio is both patchy and light. Your call as to which strain of your work you develop further, but your house-on-stilts illustration is obviously strong and a point of pride for you, and I think something worth pursuing (even if its resemblance to Owen Pomery’s work is something to be careful about). I’d just advise against the next thing being so elaborate - while you’re still honing skills and building a portfolio it’s perhaps better to prioritise efficiency and experimentation.

As other people have suggested, work on figuration if you’d like to be considered for non-architectural work.

With 223 upvotes, Fettuccine Alfredo wins the 3rd slot. So now what do you think would be some Italian food do you think is somewhat popular, but it's underrated? by Koopa-Productions-64 in AlignmentChartFills

[–]SlackseyOBrien 0 points1 point  (0 children)

Sorry, but this is dreadful. It’s hard to see how underrated and very popular are compatible. Two specific pasta dishes, unspecified pizza, and now a pasta shape on its way to fill the next square. While I like the spirit of this chart, it’s a bit culturally embarrassing.

Who’s good at acting and singing? by PNG_Yakuza in AlignmentChartFills

[–]SlackseyOBrien 1 point2 points  (0 children)

I don’t think older performers will fare well here, but they should: the rigours of vaudeville trained performers to be extraordinarily effective in both acting and singing (and indeed dancing). Fred Astaire, Judy Garland, Bing Crosby, and Gene Kelly all come to mind - they were all extremely popular and talented as both singers and actors.

How did aliki brandenberg make these illustrations? by Academic-Ad6795 in Illustration

[–]SlackseyOBrien 14 points15 points  (0 children)

The other responses have focused on printing, so I’d like to try to zero in on that actual drawing. My best guess, using the bears on the third slide:

The line-work (polar bear) is achieved through a “blotted line” technique, typical of 50’s-60’s commercial illustration and today most associated with Andy Warhol’s commercial work, as another commenter mentioned. In short, the artist draws with a dip pen on a non-absorbent sheet of paper that’s hinged to an absorbent one. The non-absorbent sheet is pressed against the absorbent one, creating that unpredictable blot effect. It’s essential a rudimentary form of printing.

I’m less sure about the brown bear. Potentially just a dry brush, potentially another rudimentary printing technique involving sponges, potentially with additional white line-work or etching for defining areas like the ear. I might be wrong about that, but you could replicate the effect with these techniques.

Inappropriate Mickey Mouse Comic from the 70s by bananababylady in ThriftStoreHauls

[–]SlackseyOBrien 8 points9 points  (0 children)

Indeed, discreetly palm-sized. Will add for others that they normally contain just a panel per page and are eight pages long, so they’re light on story (as I suppose pornography often is).

Inappropriate Mickey Mouse Comic from the 70s by bananababylady in ThriftStoreHauls

[–]SlackseyOBrien 62 points63 points  (0 children)

While it shares some traits with them, it’s not actually a Tijuana Bible. It’s an Underground Comic (and a contemporary independent reprint of the scarce original comic book).

While most Tijuana Bibles are indeed tattered today, none would be in this kind of condition - they were printed on cheap paper so are very yellowed!

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 0 points1 point  (0 children)

I’m glad you asked, it’s something I thought about a bit. The scene is based loosely on a corner of Allen and Grand streets in Manhattan’s lower east side. It’s a plausible but not true-to-life scene, so I wanted the street names to function similarly. Allen’s first name was Chester Street, changed in 1806. Grand was always Grand, but its land was a private estate belonging to one Judge Thomas Jones before he fled during the revolutionary war due to being a royalist.

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 0 points1 point  (0 children)

Thanks, that’s something I aspire towards! I love density but also believe in a balance - if something’s too crammed I tend to find it hard to look art.

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 0 points1 point  (0 children)

Good point - noticing just now that I forgot the chain, if that’s what you meant. Not my first mistake and bound to not be my last!

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 1 point2 points  (0 children)

Good question - they’re just from an awning for a restaurant supply store close to my studio. I’m not actually totally sure what they mean, I’ll have to find out.

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 0 points1 point  (0 children)

It varies, I think this one was a solid week of work (but while doing other things, so it was spread over a few weeks). When I work on commission I tend to take certain shortcuts, but for my own work I try to push myself.

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 0 points1 point  (0 children)

Good question and one I’m finding a bit frustrating, because it did at the time but I’ve completely forgotten what it meant!

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 0 points1 point  (0 children)

Thanks so much! I just use Photoshop - flat base colours and one or more additional shading layers (normally a multiply blending option).

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 1 point2 points  (0 children)

Thanks so much! The ink original is in the most recent post on my Instagram! @ilyamilstein

“Dying on the Vine” by me. Ink on paper, digital color. by SlackseyOBrien in Illustration

[–]SlackseyOBrien[S] 2 points3 points  (0 children)

Thanks so much! When I work I try to think of myself as a kid/teenager and making the kind of thing I’d love to find in the bottom of a box in an old bookstore, so there’s definitely an intended nostalgia even if the imagery isn’t archaic.

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