Cole Phillips’ “Fadeaway Girl”: Now you see her, now you don’t

coles-phillips-girl-between-you-and-me-and-the-post-clarence-coles-phillips

The image you see above is one on Cole Phillips’ “Fadeaway Girls”. This fascinating art technique was first used in the early decades of the 20th century and is still used as a gimmick more than 100 years later. In this week’s Rocketeer I’m highlighting Phillips’ famous technique with some snazzy examples. Join me on Substack to take a look.

Continuing on with oil pastels

This is the first landscape I’ve tried with the oil pastels. It was also my first time trying Canson Mi-Teintes Touch paper. It’s a sanded paper and I used a sheet of a neutralized purple-color for this painting. The paper was an experiment and I’m not sure I loved the surface. Imuch prefer Clairefontaine’s Pastelmat. There’s something about Pastelmat’s surface that seems to handle the medium better. I also like velour papers for oil pastels but not for landscapes. Velour paper creates a sort of soft blur-effect that’s great for…

Earle K. Bergey Cover Reproduction

Exciting Sports Comparison

You all know that I like to make pulp copies as part of my on-going learning process. My goal as a pulp painter is to become familiar with the original pulp covers and understand them well-enough in terms of color, composition, themes, etc.. to be able to create my own book covers and fine art paintings which accurately reproduce the look and feel of that era. I believe in creating the whole “package” for my books. I want to create an experience for readers which is immersive. And so far…

Big Day!

FPS opening day banner 2

Today is a big day for me. I have spent the last few months creating a series of new pulp paintings and also rebuilding my studio website—Flying Pony Studios. I’ve added a Woo Commerce shop to that site and this will impact Lucina Press in several ways. The biggest impact is that in the not-too-distant future my eBooks will be for sale over at the Flying Pony Studios shop, along with prints of my book artwork. In other exciting news, my new illustrated novelette—INCORRUPTIBLE—will soon be available in print and…

Robert Graef copy

Graef copy comparison The Spot of Life 1932

Here’s my newest pulp copy, Robert Graef’s cover painting for Argosy August 1, 1932 featuring “The Spot of Life” by Austin Hall. This story is sequel to “The Blind Spot” by Hall and Homer Eon Flint. My painting is mainly watercolor with touches of gouache and pastel. It’s always nice to have an excuse to get back to watercolor, it’s such a beautiful medium and ultimately my favorite. This piece was quite challenging but very fun to do. I worked larger than I normally do for copies — 12″ x…

“Tomorrow We Die!” Thrilling Detective Pulp Cover

Thrilling-Detective-1938-comparison

When I saw this pulp cover from October 1938 (left), I was immediately struck by the beauty of the woman holding the smoking gun. I’m still researching the original cover artist but it was certainly one of the now-famous pulp illustrators. As per usual, the original was most likely painted in oils. I can tell because of the glazing of the skin. When I do a copy like this I work as though I’m painting in oils and not in watermedia. This approach has pluses and minuses. On the plus…

The Shadow and The Five Chameleons

The Shadow Rozen and SLW

Today’s challenge, create a George Rozen SHADOW magazine cover reproduction. And here it is, side-by-side with the original cover art. I love these old 1930’s SHADOW covers, the images are so iconic, the colors so bright, and let’s not forget about all those anatomically correct hands! Simply fabulous! This cover is from the November 1, 1932 number featuring “The Five Chameleons.” My reproduction is painted in gouache and watercolor in a Stillman and Birn Delta series sketchbook. The original was probably done in oils. I really enjoy doing pulp reproductions,…